Checker and the Derailleurs
Checker and the Derailleurs
Lionel Shriver
From the Orange Prize winning author of We Need to Talk About Kevin this is a novel about what it takes to make it in music. How charisma is worth its weight in gold. And how jealously can grow until it has eaten away at a musician’s heart.He has that thing that they’d all pay for but can’t buy: on stage and off, the 19-year-old rock drummer Checker Secretti is electric. When he plays with his band The Derailleurs, the natives of Astoria, Queens clamour for a piece of him. But charisma comes at a price. A Salieri to Checker’s Mozart, the fiercely envious fellow drummer Eaton Striker is eager to sow discord among the Derailleurs, that he might replace the exasperatingly popular goody-goody in the close-knit neighbourhood’s affections.An examination of the passion, the jealousy and the friendship of young musicians trying to break out, Checker and The Derailleurs is also about cycling, rock lyrics, glass blowing, the marriage of convenience, and—most of all—the mystery of joy.
Copyright (#u01109050-7a1b-5d9c-9735-849b24773c94)
The Borough Press
An imprint of HarperCollinsPublishers
1, London Bridge Street
London SE1 9GF
www.harpercollins.co.uk (http://www.harpercollins.co.uk)
Published by HarperCollinsPublishers 2015
First published in the USA by Farrar, Straus and Giroux 1988
Copyright © Lionel Shriver 1988
Cover design © HarperCollinsPublishers 2015
Cover photograph © Shutterstock.com (http://www.Shutterstock.com)
Lionel Shriver asserts the moral right to be identified as the author of this work
A catalogue record for this book is available from the British Library
This novel is entirely a work of fiction. The names, characters and incidents portrayed in it, while at times based on historical figures, are the work of the author’s imagination.
The author gratefully acknowledges permission to quote from the following published works: “Bang the Drum All Day” by Todd Rundgren, copyright © 1983 Fiction Music, Inc./Humanoid Music (BMI), all rights reserved / “Eleanor Rigby,” words and music by John Lennon and Paul McCartney, copyright © 1966 Northern Songs Ltd., all rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (MACLEN), all rights reserved, international copyright secured, used by permission / “Darkness” by Stewart Copeland, copyright © 1981 Reggatta Music, Ltd., administered by Atlantic Music Corporation / “Dancing in the Dark” by Bruce Springsteen, copyright © 1984 Bruce Springsteen, all rights reserved, used with permission / “Blinded by the Light” by Bruce Springsteen copyright © 1973 Bruce Springsteen, all rights reserved, used with permission / “Save the Life of My Child” by Paul Simon, copyright © 1968 Paul Simon, used by permission, Inc., all rights reserved, used by permission / “Love over Gold” by Mark Knopfler, copyright © 1982 Chariscourt Ltd. (PRS), all rights administered in the U.S. and Canada by Almo Music Corp. (ASCAP), all rights reserved international copyright secured / “The Man’s Too Strong” by Mark Knopfler, copyright © 1985 Chariscourt Limited (PRS), all rights administered by Rondor Music (London) Ltd., administered in the U.S. and Canada by Almo Music Corp (ASCAP), all rights reserved, international copyright secured.
The drawings reproduced in Checker and The Derailleurs are by Lionel Shriver.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins e-books
Source ISBN: 9780007564033
Ebook Edition © 2015 ISBN: 9780007564040
Version: 2015-01-13
Dedication (#u01109050-7a1b-5d9c-9735-849b24773c94)
To someone who doesn’t deserve it, as he very well knows
(#u01109050-7a1b-5d9c-9735-849b24773c94)
Well I have tried to be meek
And I have tried to be mild
But I spat like a woman
And sulked like a child …
And I can still hear his laughter
And I can still hear his song
The man’s too big
The man’s too strong
DIRE STRAITS
“The Man’s Too Strong,”
Brothers in Arms
Table of Contents
Cover (#u6bd234eb-9984-585c-b6be-34a3b484735f)
Title Page (#u8160323d-86d7-5b1b-99d5-4338dc890e9e)
Copyright (#u5b10c8c0-84ce-5a3f-a870-0326cf7df146)
Dedication (#uea349b4f-0e01-508c-8e19-3d0394b0b672)
Epigraph (#ud67b25d5-5da2-55f2-a9d1-875cd4cb0c09)
1. blinded by the light (#u77c2fddc-e021-5e9a-8382-884e0d041b15)
2. blood and crystal (#u54e6e9fb-4811-55c2-a558-f892603646d2)
3. bad company (#u8f3ce3f4-657d-5a3f-8a31-3a2b97b0ab31)
4. the house of the fire queen (#ub19e3abe-cb07-5b21-83bb-6aa1f33e5137)
5. bye, bye, miss american pie (#u5bd53287-8c92-5904-816c-3320e3103660)
6. simply red (#u0d46bd66-1ca6-5429-a9cb-1140ad03e429)
7. my love is chemical (#u24fdcafe-560e-5252-bcb3-cdf58aea2397)
8. hot rocks, or: the igneous apartment (#ub18bb179-0d1a-5176-a3ae-d3c908ecc319)
9. in defense of subjective reality (#ua0a17c67-9319-56fe-9f5d-ed2841951567)
10. howard and the flow state (#ue4610e7b-52cb-5fc9-b814-7d0366fdb28e)
11. the newlywed game (#ud1e9885c-6be2-50a9-9606-d0309808f5b3)
12. don’t be crue (#ubca9610c-b9de-5f83-a463-9356e846e0f3)
13. too much information (#u5ed09606-14bf-5d99-abf2-97bcd3540340)
14. close to the edge (#uc73f730a-44f3-5ec9-870c-55cb77af7d19)
15. it’s hard to be a saint in the city (#ue7da767c-5ef5-57a0-bac7-1e63ccb63144)
16. why we fought world war II (#u6f5dadd7-4793-594f-b50a-84df62483406)
17. the checkers speech (#u83be001b-007b-5f92-a811-5d593ab5909c)
18. the party’s over (#u84b2d9a3-ca84-5ea8-ad8d-4a953b19f642)
19. the last supper (#ud49e835f-feae-5c25-ae00-79d064693143)
20. into white (#u54632b00-14ed-50a2-8a6e-3ae032d26d06)
21. a cappella in the underpass (#uf75a14fa-73da-56f6-83ab-5260359c359c)
22. a little help from my friends (#ua939d033-6528-5892-9ab4-0bed7919d409)
23. the ghost in the machine (#u9808b087-e5fe-5e66-be53-6e5ce6a963b0)
24. comfortably numb (#u535bff5d-bbc0-55a0-adb7-23408dc1ee57)
25. spirits in the material world (#ub057f426-fbcd-5bd8-99f4-fc673a001363)
epilogue. oh, you mean that checker secretti (#u498de069-6a59-51f0-8bcc-c2cba0851bc5)
footnotes (#uf2ff4c91-85e3-56bf-8ff9-316fcc6089b2)
index of song titles (#u79e4c8e9-db86-5825-a395-bdd1981525b0)
About the Book (#u58286319-c3be-53b7-934e-17b09e97c7a9)
Praise for Checker and The Derailleurs (#u6794e60b-2571-5ce0-b85c-2262ed8ae4cb)
About the Author (#uc26a59c3-a8c7-5e74-8875-804afd0c501b)
Also by Lionel Shriver (#u93db85c0-d76a-569d-887e-b2f2e4400908)
About the Publisher (#u8adecfef-ff3f-51c6-991d-04c6aa4de21a)
Checker’s favorite color is red
1 / blinded by the light (#u01109050-7a1b-5d9c-9735-849b24773c94)
Foreboding overcame Eaton Striker well before The Derailleurs began to play. Much as Eaton would have preferred to chum obliviously with his friends, he could only stare at the stage as the drummer stepped up to those ramshackle Leedys and the damned skins began to purr.
“Who is that?” asked Eaton, not sure he really wanted to know. The drummer percolated on his throne, never still, bloop, bloop, like coffee in the morning—that color; that welcome.
“Checker Secretti,” said Brinkley, with irritating emphasis. “Where have you been, the moon?”
“He’s talking to his traps!” exclaimed Eaton, in whose disturbed imagination the instruments were answering back.
“Yeah, he did that last time,” said Brinkley the Expert. “Checker’s a bit touched, if you ask me.”
“I didn’t.” Eaton slouched in his chair.
The humidity here was curiously high. A plumbing problem in the basement dripped right on the heater, so the whole club felt like a steam room—there was actually a slight fog; vapor beaded on the windowpanes. A proliferation of candles sent soft, flickering profiles against the walls. With its vastly unremarkable decor, Eaton couldn’t explain the crawling effect of the place as he nestled down in the seductively comfortable chair, taking deeper, slower breaths and saying nicer things to his friends. Eaton squirmed. He tried to sit up straight. He looked suspiciously into his Johnnie Walker, thinking, Black, hah! since places like this bought gallons of Vat 69 and funneled it into name-brand bottles. Yet this was confoundingly good whiskey, some of the best he’d ever tasted. The waitress, though definite woof-woof material at first glance, now looked pretty. Eaton felt he was drowning and fought violently to rise to the surface, to breathe cold, hard air, to hear his own voice with its familiar steeliness, instead of the mushy, underwater murmur it had acquired since they’d sat down.
The drums sounded so eager, so excited. Checker laid a stick, once, bip, on the snare and it jumped; so did Eaton. Every time a quick rat-tat rang through the room, the audience looked up; the waitress turned brightly to the stage. When Checker nudged the bass to adjust the blanket curled inside its shell, women at tables stroked their own hair; men extended languorously into the aisles. The beater sent a shudder through the length of Eaton’s body.
Eaton had been taking drum lessons from an expensive instructor in Manhattan since he was seven, and though he hardly ever heard a song that was fully to his liking, when that rare riff floated over the airways a cut above the ordinary fill, he took notice. Eaton was a snob, and would admit it to anyone, but in some ways he really was better than these people, rightfully not at home in provincial Astoria. He was bright; he had an uncanny sense of other people, even if it was largely for their failings; and he knew excellence. So while somewhere in the boy’s mind he was aware that he didn’t hear it when he himself played, he was hearing it now.
The first phrase rose and fell like a breath. Sticks rippled like muscle, and teased, tingling, resting on the edge of the ride. Again, Eaton involuntarily inhaling with them, the blond sticks curled up to the snare and spread to the toms, the crash, to ting, ting, ting … Someone laughed. Checker skimmed his tips across the supple ridges of the brass, raising the long, dark hairs on Eaton’s arms. Yet Eaton could see Checker was just loosening up, ranging around the drums as if stretching at the start of a day. He kept low through the whole of “Frozen Towels.” Slowly through “Fresh Batteries,” though a strange blissful smile crept onto his face, and the music began to move underneath like lava with a crust on top—the cooler surface would crack in places, show red, let out steam; all at once the music would move forward, rushing into the club like a flow, veined with the sure signs of a dangerous interior. The keyboardist had to stand up, pushing his chair back; the musicians out front gradually stepped away to give the drums more space, until, there, pouring from the back of the stage, came an unrestrained surge of rhythm like a red wall of melted rock.
Yet later Checker slowed the lava, the blood, to a sly trickle. The restraint hurt to hear. The rest of the band, too, retreated to small, stingy sounds. The club grew stupendously quiet. Not a drink clinked, not a shoe scuffled. The sax thinned to a spidery thread of a note; the keyboard took to a small high chord; the bassist and lead guitarist hugged their instruments selfishly to their bodies, and no sooner struck a note than took it back. But quietest of all were the drums, pattering, the sticks like fingertips, until Checker was no longer on the heads themselves but only on the rims, ticking, rapid, but receding all the more. The audience was leaning forward, barely breathing. But the sound, meanly, left them, though it was a good five seconds before they realized that the band had ceased to play.
In the midst of this silence Checker began to laugh. “Clap, you sons of bitches!” And they did.
Eaton excused himself to go to the men’s room. He leaned over the sink, bracing his hands on either side of the porcelain, panting. Looking up in the mirror, he found his usually handsome, narrow face pasty, with sweat at the hairline. Eaton leaned against the wall with his eyes closed and waited there through the entire break.
For the second set, Eaton could listen more clinically. He noted the tunes were original and several had to do with bicycling, of all things, like the name of the band: “Cotterless Cranks,” “Big Bottom Bracket,” “Flat without a Patchkit on the Palisades” “Cycle Killer” and “Blue Suede Brakeshoes.” Or “Perpendicular Grates,” to which Eaton caught most of the words:
Don’t jump your red tonight,
You big yellow Checker.
I’m coming through the light
At its last yellow flicker.
Shine your bulging brights
Right into my reflectors.
Listen close and you might
Hear my freewheel ticker-ticker.
Hey, city slickers:
Lay perpendicular grates!
Chuck those rectangular plates!
One pothole on Sixth Avenue
Goes all the way to China.
I am a midtown
Pedal pusher.
I am a traffic
Bushwhacker.
My brakes are clogged
With little children.
Greasy strays
Keep my gears workin’.
Doggies, watch your tails;
Old ladies, hold your bladders.
Scarvy starlets, trim your sails
Or choke on Isadora tatters.
Better step back to the curb—
Enough women are battered.
Brave Lolitas, round the curve,
You don’t want to be flatter.
Hey, hard-hatters:
Lay perpendicular grates!
Chuck those rectangular plates!
One pothole on Sixth Avenue
Goes all the way to China.
I am a midtown
Pedal-pusher.
I am a traffic
Bushwhacker.
My brakes are clogged
With little children.
Greasy strays
Keep my gears workin’ …
Eaton told himself that songs about bicycling were silly. He even managed to turn to Brinkley between tunes and advise him, “You know, technically, the guy’s a mess.” True, Checker played as if he’d never had a drum lesson in his life. He held his sticks like pencils. Yet Eaton had never seen such terrific independence, for Checker’s hands were like two drastically different children of the same parents—one could read in the corner while the other played football. What was Eaton going to do? Bitchy carping from the sidelines wouldn’t improve matters. And everyone looked so happy! The band and the audience together swayed on the tide of Checker Secretti’s rolling snare. How does he do it? Even the little singer, a perpetually dolorous girl by all appearances, had a quiet glow, like a night-light. Eaton actually wondered for one split second, since he knew percussion better than anyone in the club, why he wasn’t the happiest person here. But that moment passed, and had such a strange quality that he didn’t even retain a memory of it, until Eaton was left at the end of the last set wishing to plant Plato’s and everyone in it three miles deep in the Atlantic, safely buried below schools of barracuda, in airtight drums like toxic waste.
Yet, more or less, Eaton had decided what to do.
After the applause and catcalls had died down, Eaton turned to Brinkley and said severely, “Brink, you dungwad, you told me that Secretti was okay.”
“I didn’t say he, like, raised the dead or anything.”
“Could’ve been playing trash cans with chopsticks,” said Gilbert. “Not like Eat here. Now, Eat’s a drummer.”
“Uh-huh,” said Eaton, turning to Rad. “And what did you make of Secretti?”
Rad twisted a little. During the performance he’d been nodding his head and tapping the table with the heel of his beer. “Bang, bang. Another local band. They’ll be gone soon. The world won’t have changed much.”
Eaton surveyed his compatriots in silence. All three of them were nervous and weren’t sure why. “So you three”—Eaton rolled the ice around his glass—“think he sucks? Basically?”
They shuffled and nodded.
“Then you all have dicks for brains.”
“What?” they asked in unison.
“The man is brilliant. Steve Gadd raised to a goddamned power. One fresh piece of cake in a pile of stale Astoria corn muffins and you guys don’t know the difference.”
“But you said technically he’s a mess—”
“Unorthodox. May not have much training. All the more impressive, then. The man’s a genius.”
Eaton’s three henchmen were staring at their friend as if he’d just announced he was giving up rock and roll for polka music.
“Yeah, well,” said Brinkley. “I said he was okay, right?”
“Okay!” Eaton rolled his eyes and stood up. “With this crowd I need drink.” He walked away and didn’t come back.
“That was exemplary.”
Plato’s may never have heard the word “exemplary” before; its syllables queered against the walls.
“I was humbled,” Eaton went on, bent formally at the waist, as if he’d watched too much Masterpiece Theatre. “You’re a giant. And far better than these people know.”
“I think they know us just fine,” said Checker, looking disconcerted. Compliments made him queasy. Checker himself didn’t think about the way he played. He didn’t want to, either.
“You’re better than you know,” Eaton pressed. “It’s time someone told you. So, please.” Eaton handed Checker his card. “I know the names of some club owners in Manhattan. Or if you need anything at all, please call. Good night, all.” With a quick flourish Eaton made a swift departure. After all, he wasn’t sure how much longer he could keep this up.
In the defined caste of high school, Eaton Striker had played a precise role, exactly shy of stardom. He passed that crucial test: more students knew his name than he knew theirs. He was The Drummer, and relished sitting in the cafeteria with a drumstick stuck behind his ear, ticking paradiddles on his tray with silverware. Yet while his traps and his rock bands saved him from obscurity, they didn’t secure him quite the premier position he felt he deserved. There was always one more table next to his where every student yearned to sit, and they’d settle for Eaton’s only when the first was full.
In every area Eaton was plagued with not-quiteness. There was a particular lancet-witted brunette, Stephanie, whose quips in his direction prickled his skin like the sting of a slap, but that was all the tribute he could win from her; on the other hand, Stephanie’s slightly less attractive, slightly less sharp best friend showed up for every one of Eaton’s early gigs. Now, he did finally acquiesce and take Charlotte as his girlfriend, enjoying the pleasant lopsidedness of the relationship—she typed his papers and packed his drums and ruined a perfectly good denim jacket with embroidery as a “surprise.” All he had to do in return was treat her badly, for which Eaton seemed to have been born with a certain gift. But seeing Charlotte with first prize was torture. Eaton was dating the kewpie doll while someone else was wrapped around the big stuffed bear.
All second prizes are insults. Eaton believed that. When in the senior talent show his band, Nuclear War, was awarded second place, Eaton strode from the stage and in front of the whole assembly stuffed the certificate perfunctorily in a trash can. When Eaton’s cronies nominated him for student council office, it was for vice president; he lost to a girl.
Even Eaton’s grades were never perfectly straight-A. There was always one teacher who had it in for him in one of those mealy subjects—English, social studies—where the teacher’s feeble judgment came into play. Eaton preferred math—his work was right or wrong, whether or not the instructor despised him. For while Eaton was never directly insolent, his sly, grimly bemused expression nagged his teachers like a persistent hangnail. Whenever they talked to him after class he turned his head to watch them out of the corners of his eyes, his responses laconic; he always seemed to indicate that a great deal was being left unsaid. On any point of conflict his teachers quickly abandoned personal appeals and fell back on brisk legalistic resolutions.
These were uneasy relationships. Eaton’s intelligence would never redound to his teachers’ glory. Rather, each would shine at the expense of the other. That was the stanchion of Eaton’s world view, and it was contagious.
So Eaton was the hero of the B+ students, revered by the type in elementary school picked third or fourth for a kickball team of ten. Burdened by Eaton’s disappointment, his following had a high turnover; his rock bands were always breaking up. At the moment, out of school over half a year now, Eaton was once more without a band, and it was harder to assemble a new one without high school; he paged through the ads in the SoHo News listlessly on Saturday afternoons. Eaton yearned for caliber. The idea of collecting one more second-rate rock band filled him with a precocious exhaustion.
That Eaton would end up at Plato’s was inevitable. By January he had been actively avoiding the place, spending Friday nights instead at Billy’s Pub, Grecian Gardens, Taverna 27, bars that never managed to persuade you they were anything more than rooms with bottles, full of bowlers and plumbers all too eager to confide the trials of the kind of life Eaton planned to transcend. Yet even Taverna 27 was better than the chromier corners, decorated like Alexander’s at Christmas and cranking out Van Halen on the juke, cramped with high-school juniors constantly combing their hair. Eaton was only nineteen, but he’d said goodbye to all that.
There was always Manhattan, but Eaton hated coming back at four in the morning on the subway with all the plebes who couldn’t afford a car. Eaton couldn’t afford a car, either, but he was the kind of person who really should have been able to, and a pretty damned nice car at that. (Eaton’s sense of justice was frequently confounded. Eaton should have X and Eaton did have Y, and the disparity didn’t anger him exactly—his reaction was deeper than that. It disturbed him. When Eaton didn’t get what he deserved, he felt the earth—move—under his feet—Carole King. Yich.) In the city, scrunched against the bar with his friends, Eaton would slip the straw of his screwdriver between a gap in his teeth, having to repeat three times over the music how these clubs were “tedious,” though he privately considered them far more evil than that—the heaving, shifting mass of dancers would undulate and suck against him like some lowlife sea creature, swallowing him in anonymity, digesting him alive and spitting his remains out the door at three, forty dollars poorer.
Furthermore, Eaton was underage, and though he usually cooled his way past the bouncer by paying the cover with an unusually large bill, Eaton craved legitimation. He hated being nineteen. He remembered with humiliation the other night at Van Dam’s, when the thirtyish man beside him had asked him, as a drummer, what did he think of “In-A-Gadda-Da-Vida”?
“Amusing, but finally bogus. I didn’t go along with the brouhaha over the album when it first came out.”
“Come on!” said the man. “It came out in ’68! You were listening to Iron Butterfly when you were one?”
Eaton couldn’t wait to turn thirty and do the same thing to kids sitting next to him. In the meantime, he listened to the radio with a pencil, and haunted the aisles of Tower Records like a law student in the stacks, studying jackets like torts, reading the fine print—dates, producers. He put together histories of who left what band and started this one, reading Rolling Stone cover to cover, determined never to be caught out by aging rock has-beens in Manhattan again.
Eaton yearned for a club where patrons knocked him on the shoulder and cleared room for him at the bar, where the waitresses knew him by name and remembered his liquor brands. Eaton liked to be recognized, and Astoria should have been the place for that; a small-towny Greek neighborhood in Queens with friendly shopkeepers and good-old-boy bars, Astoria would transplant easily to the middle of Iowa. Eaton’s failure to carve a niche even here was one more of those disconcerting challenges to his stature, for if he went to the same bar several nights running, Eaton would sure enough get recognized, but no one seemed very happy to see him.
Besides, everyone said Plato’s was “good,” though the word had put Eaton off distinctly. They said it the way you’d say a “good woman,” meaning ugly. Plato’s was a “good club” the way you’d say Jerusalem was good, somewhere in the Bible.
The following Friday night Eaton kept putting on his coat and taking it off again. He’d flounce in a chair, tap his fingers, turn up the radio—Journey. Awful. Off. Tap, tap, tap. Finally, he grabbed the cashmere once and for all and rushed out the door.
Gliding in with his crew, Eaton glanced hastily around the club; when he failed to find what he was looking for, his stomach sank, just as it had when Charlotte showed up at his gigs without Stephanie. The place suddenly felt flat. This time, Eaton wondered why he’d concerned himself with Plato’s at all—low-lit and woody, with no track lighting or rippling bulbs around the bar, the club made no effort at any kind of effect. Furthermore, at almost midnight, there was no music. Maybe The Derailleurs were on a break, but if so they couldn’t have bubbled anybody’s hormones—the immediate feeling of the crowd was subdued, even depressed. No one was talking very loud, and everyone seemed sober.
“This place is sure different from last time,” said Brinkley.
“This isn’t a club, it’s a morgue!” said Gilbert.
They sat in the corner, refreshingly disgusted.
“I thought there was supposed to be live music here,” Eaton charged the waitress.
She sighed. “Well, it’s happened again. You know. Check. Maybe next week. Maybe even tomorrow.”
“You lost me.”
She looked at Eaton more closely. “Oh, you’re new here, aren’t you?”
“I have to be a member?”
“No, it’s just regulars are used to this. Checker—disappears.” Raising her eyes enigmatically, she swished her tray to the next table.
That explained it, for the rest of The Derailleurs were all propped at the front table. Breathing in her cloying wake reminded Eaton of passing cosmetics counters, with their nauseating reek of mixed perfumes.
Standing abruptly in the middle of Brinkley and Gilbert’s riveting debate over tequila-salt-lemon vs. tequila-lemon-salt, Eaton swirled his black cashmere greatcoat around his shoulders and strode to the lead guitar.
“Not playing tonight?” Eaton inquired.
“Our head man just won an all-expenses-paid trip to Florida,” said the blond longhair dourly.
“That’s surprising, for a band with your reputation—”
“What have you heard about The Derailleurs?” asked the straight kid, whose ears stuck out from his head.
“We don’t need to hear about The Derailleurs, Howard,” said the longhair. “We are The Derailleurs. We know all about us already.”
“I was wondering,” said Eaton, “since your delinquent member—”
“Nobody said he a delinquent,” said the big black bassist.
“Your man in Florida, then.”
“Our man,” said the bassist firmly, “period.”
Eaton took a breath and smiled. “Of course. It’s just, I’ve kicked around the drums myself. I’m only so good, but if you stuck to covers I could keep a steady three-four. I wouldn’t presume to equal your own stunning percussionist. But for the hell of it, maybe I could fill in?” Eaton looked gamely around the table.
“As the manager—” Howard began.
“Howard listens,” said the guitarist.
“Would he like to listen tonight?” asked Eaton solicitously.
“No.”
They turned toward the end of the table. The Middle Eastern saxophonist had folded his arms. “We half our drummer.”
“On the contrary,” said Eaton, “it seems that you don’t.”
“You say you not so good. Why we play with you, not-so-good?”
“Excuse me, but can he understand me? I see we have some second-language problems here.”
“Rrreal fine, slime mold,” said the saxophonist for himself.
“Aw, can it, Hijack,” said the bassist. “Check on vacation, pull this night out somehow. Let’s play.” Rolling to a stand, he led the rest of the band to the dais.
Eaton took his seat on the throne and pulled his own drumsticks out of his greatcoat. He tested the tom and it went thwap! What? The heads were completely loosened—and no wonder. Calf skins! There wasn’t a rock drummer in this country who used calf skins. With annoyance, Eaton went through the tedious process of racheting the lugs tight and testing around the rim to get them even. Somehow they—resisted. The heads weren’t interested in attaining the tautness Eaton required.
Eaton tried the tuning with a snappy run around the pieces. God, what a pile of tin cans. The hardware rattled. There was a buzz in the bass. And the whole set was ancient, big band or before, though Eaton did admire the Zildjian-K’s—you hardly ever saw those nowadays, hand-hammered Armenian cymbals, exquisitely thin. Even the ride rang with a long resonant shimmer at the touch of his stick, though to Eaton’s taste they were a little oversensitive; they—winced. He eyed the set; it seemed to eye him back. But Eaton knew how to discipline inanimate objects. Whenever his possessions broke, which was often, he imagined he was getting the last laugh.
“Boys and girls, you may have heard we’ve been caught out Checkless,” the lanky guitarist began. “However, with a volunteer from our studio audience, we’ll proceed. In consideration of our guest, only familiar favorites, please.”
When they began with “Louie, Louie,” the whole band had their ears cocked for Eaton’s drumming, though that proved unnecessary—they could barely hear anything else. The guitarist forced his voice; the bassist turned up his level; the keyboardist, something of a delicate touch the weekend before, torqued up his electric piano. When Hijack opened into a sax solo, Eaton bore down all the more, until the horn player was inserting the mic in his bell.
At the end of the song, the saxophonist turned to Eaton behind him. “You break Sheckair’s head,” he said quietly, “I break yours.”
As they grated through Hard Cheese’s “Two Is a Crowd” and on to “Johnny B. Good,” Eaton pushed the tempo when the lead slowed down; he dragged just as the bass thrummed forward. Because drums set the standard, this left the musicians out front sounding out of sync. Further, even when the band was playing together, they all rushed toward the song’s conclusion, as if to end was to win, as if the reason to play it was to get it over with. And it wasn’t only Eaton, either. They all lashed their instruments, spitting the words out like projectiles they hoped would hit someone on the head. You got the feeling that after listening to a song like that Johnny would be very, very bad.
With “(I Can’t Get No) Satisfaction” Plato’s moist air turned acrid with evaporating sweat. The crowd, though not seemingly disappointed, was unusually rude; one patron in the back kept yelling, “Kill ’em!” waving his hands until he spilled his beer. A fight broke out by the bar; waitresses got testy and started carding; boys got grabby and girls got bitchy; customers recklessly mixed their poisons and threw up in the bathroom. Still, they were all apparently convinced they were having a wonderful time.
When the band took a break, The Derailleurs save the Middle Eastern muttered something to Eaton about “good job,” but their remarks were muffled and short. Everyone but the girl went to swill down something stiff. Eaton felt the victim of a great lack of generosity. He may not have ever experienced genuine, spontaneous acclaim, but he knew this wasn’t it.
When Eaton sat down for the next set the drums glared at him like prison labor.
Eaton outdid himself. The toms tippled in their brackets; the bass edged gradually from his foot; the Zildjian-K’s began to tremble from the shadow of his hand. He broke five hickory drumsticks.
The guitarist suggested they do a slow song and let the girl sing. Rachel DeBruin had a sweet, mournful presence that could surely calm the band down, and maybe the crowd, now growing unruly. The band never had her sing too often, since she made audiences pensive; she recalled lost summers and first loves. On good nights she could raise a napkin to the corner of a biker’s eye. Tonight, however, they would settle for quiet.
Yet when she sang “The Last Time I Saw Richard,” its sweet romantic disappointment bittered; the other musicians harmonized in their heads. Welsher, thought Caldwell, the guitarist. His “friend” J.K. had owed him fifty dollars since July. Strumming next to Caldwell, J.K. felt his bass droop; he’d been lugging mail sacks for the post office all week, and his arms were tired. Two of his friends had left for Jamaica earlier in the week, but J.K. couldn’t go, no—as usual. He had a wife and daughter to support. What a hero, he thought sourly. All day long postcards had spilled from his sacks, of palm trees, greased-up girls, with messages like “Water warm, rum cheap.” The keyboardist, Carl Ming, kept forgetting the chords, but helplessly remembering everything else—fifth grade came at him like a submarine torpedo: four boys, a big brass spatula for a paddle, and a fence. Since his childhood was enough of a torment the first time, “Quiet Carl” wasn’t the nostalgic type; memory itself was assault.
Howard glared from the front table. They thought they were so hot, prancing around on stage. All the errands he ran for those guys, their thanks jokes at his expense. Airheads. Howard recited to himself his very high SAT scores. Meanwhile, the Middle Eastern saxophonist glanced disdainfully down at the audience. Self-satisfied Americans. Rich land, good weather, all those cars, completely wasted on 240 million fat sheep.
In the song, a woman sits in a bar getting drunk, mooning over an old boyfriend; the place is about to close, and the waitress wants her to finish her drink. That’s me, thought Rachel. Twenty years from now, that’s me. Same bar, same man. That bastard. Some days I don’t know what I want more, to slit his throat or mine.
Yet Eaton, insofar as he was capable of the emotion, was perfectly happy.
So there you have The Derailleurs—a motley or tropical crew, depending on your mood. The picture of that obscure Queens rock band, tripping over frayed cords fat with electrician’s tape, could appear credibly striking, but you have to look at them right. Otherwise, especially with indigestion or maybe just an indigenously surly disposition, you might notice how Caldwell is overdrawn, like a cartoon—his nose is enormous, his arms are too long, a vein on his temple protrudes. He jitters around the stage in a panic, constantly adjusting amp settings and checking the jacks, in the grip of some terror, but only nineteen—what is there to be afraid of? Rachel, lost in her big maroon sweater half unraveled down the front, is arguably mousy. She always looks at the floor. Rachel is Bowie’s original China Doll, perched on the edge of the stage—when she shatters you won’t want to be around to pick up the pieces. Someday someone will have to take the blame for Rachel DeBruin. J.K.? One more hunky black kid, likes his beer, his rock and roll—a known quantity. Hijack, whose real name is Rahim Abdul, is too pretty for a boy. And in New York you sure get tired of foreigners. Those accents aren’t quaint or exotic anymore after about week 6 here. From then on, it’s just, I need a cabbage, a small one; Excuse—? A cabbage! Like that. Quiet Carl never says a damn thing, and who needs that. As for Howard Williams, their “manager”? Squid. Boat shoes! Oh, he isn’t exactly ugly—Howard has even, regular American features with nice thick brown American hair—but to whatever degree looks are style, Howard is hideous.
However, it would be possible to execute a little turn like flicking the channel over and back again; the picture, black and white a moment before, blushes to color. Suddenly the spotlight on stage shadows Caldwell’s face with the exotic expressions of a Kabuki mask. He has long, elegant fingers. His hair is bright gold. True, he’s frightened, but at nineteen there’s plenty to be afraid of, like the rest of your life. Rachel is no longer mousy, but delicate. If you circled your thumb and middle finger around her wrist, both end joints would overlap. J.K. is big rather than fat, comfortable and unpretentious as an overstuffed armchair. And so what if Rahim is pretty? Beautiful teeth—matched pearls, a two-string smile. Further, sometimes it’s possible to recuperate that delight in foreigners you had when you first came to New York. His r’s roll like water. Quiet Carl has a story, and you like stories. Howard is handsome, and you’re dying to tell him that. You want to take him shopping and buy him some shirts with color and jeans that don’t hike up like that, Hi-Tops instead of boat shoes. But you won’t. And Howard will keep buying the pale plaids and jeans that are big in the waist and short in the leg, and that makes you smile, because people are astonishingly consistent, so carefully themselves. You don’t mind. Why, he’s the only person you know who wears boat shoes.
What if you added Checker Secretti to this picture? Well, if your mood is sour, Checker isn’t very impressive. Few people seem to notice that he isn’t very tall, but you would notice. His brown skin, kinky hair, and blue eyes would disturb you, for you can’t quite tell what race he is, and it’s stressful when people resist normal categories. You might say he’s “cute,” but he’s no head turner. Not even as straight-out good-looking as, say, Eaton Striker. In fact, you would think this specifically: Not as good-looking as Eaton Striker, since, if you were eyeing Checker Secretti with just this narrow annoyance, you would be Eaton Striker.
But if you feel fine? If you understand that people are attractive not just for their strengths but for their shortcomings? Then how would Checker Secretti look?
You might see the shadow of a nose, the flicker of a hand, a rolled-up sleeve of bright red cotton, but you wouldn’t see the man from head to toe, and it wouldn’t occur to you to wonder whether he was a head turner, because, leaning in the frame of the door, you would have to be Checker Secretti himself.
2 / blood and crystal (#u01109050-7a1b-5d9c-9735-849b24773c94)
… and when you finally reappear / at the place where you came in / you’ve thrown your love to all the strangers / and caution to the wind—
“Sheckair!” Rahim stopped cold in the middle of “Love over Gold” and unstrapped his sax to bound from the stage. The rest of the band dribbled off; Eaton was the last to stop playing. Running to the doorway, Rahim clapped Checker’s hand and turned him fully around like a square-dance figure, laughed, and planted a big, unembarrassed kiss on each of Checker’s cheeks.
Between three and five, Plato’s usually settled down to a small core of customers; The Derailleurs would put away their instruments and everyone put his feet up. The drinking slowed to a trickle, and even diehard rockers grew philosophical. Not tonight. They all pulled on their coats when Check walked forward, slinking out of the club hastily as if leaving the scene of a crime.
“You just get here?” asked Caldwell, fidgeting with his gig bag.
“Caught some of that last set.”
“Yeah, well.” A strap was caught in the zipper, and Caldwell went about solving the problem intently. “Just screwing around. You weren’t here.”
“We’ve been through this.”
“Well, you can’t expect us to be any good,” Caldwell burst out, “without you.”
Checker’s eyes were steady, neutral. “It was interesting.”
“You are toast, man,” said J.K.
“I am a little tired.” Checker turned. “Howard, you arranged a substitute. Good management.”
Howard envied Rahim’s leaping Virginia Reel, but could only swing an awkward, premeditated hug. “You look terrible!”
“Thanks, Howard.”
“No, I mean—”
“You mean I look terrible. Mr. Striker?” Checker pulled a tattered paper from his pocket and read, “Drummer Extraordinaire.”
Eaton felt embarrassed by his own business card, and glared as if the pretentious tag was Checker’s fault. Checker only looked back at him with exposing directness. Eaton felt discovered. Yet when Eaton glanced away and back again, Checker’s expression no longer appeared incisive. There was a deadness or calm in the corners of his blue eyes—blind spots. If Checker were a car, it seems, Eaton Striker would be positioned perfectly behind the right back fender.
“Some drumming,” said Checker.
“It’s a battle, with these tubs.”
“The drums are supposed to be on your side.”
“These aren’t very responsive.”
“Calf heads are subtle.”
“I don’t think of drums as a subtle instrument.”
“Yes. I can see you don’t.”
Checker smiled slightly, and Eaton felt condescended to. His chin rose in the air. “Antiques, aren’t they?”
“’Forty-eight,” said Check. “A good year.”
“Might consider replacing them. The shells made now are smaller, tighter, sharper. These are muddy.”
“Thanks for the advice. But I’ve had these since I was nine. If I replaced them they’d be hurt.”
“And when you forget their birthday, do they cry?”
“I don’t know,” said Check mildly. “I’ve never forgotten their birthday.”
Check eased into a chair and leaned his neck over the back, closing his eyes. Rahim dipped a napkin into the ice remaining in a drink and wiped across Checker’s forehead. “Sheckair don sleep?”
“Not much, Hijack.” No one asked him where he’d been. No one asked him why he hadn’t slept.
While Check dozed, Rahim cooled the drummer’s neck and patted it dry with the tail of his shirt, rearranged Checker’s collar, and finally stood at attention beside him like a bodyguard, eyeing Eaton occasionally as a potential assassin. The rest of the band quietly packed up and helped the waitress clear drinks. No one talked, but gently the acid dispersed from the room, the heat clanking up from the basement with a fresh burst of steam. Shyly they found each other’s picks and spare strings. Sweeping up, Caldwell decided that fifty dollars wasn’t very much money, after all. J.K. realized that he’d only want to go to Jamaica if he could take Ceil and the kid with him; that people who counted on you were burdens or assets, all depending on how you looked at them. Carl helped wash the dishes and noticed how the waitress managed to talk to him in a way that didn’t demand he answer back, but still made him feel like part of a conversation. Wisps of childhood memories were still trailing through his mind, but he also recalled some other classmates—the girl with buck teeth, the little boy who smelled bad—who were tormented along with him. When he smiled at the waitress while she dried, she blushed.
Howard felt liked. Rahim felt American. Rachel felt sad, but Rachel always felt sad. And in the quiet, steamy closure of the dark club, surrounded by the sound of Checker’s breathing and the hollow expansion and contraction of the pipes below, Eaton Striker had to leave.
As Rahim walked him home Checker wheeled his bicycle between them, the clicking of the back hub ticking off the moments in precise, perfect points like the stars overhead, bright from cold.
Checker said, “I want to show you something.”
They detoured to a run-down industrial block of Astoria Boulevard. The sidewalk shook under their feet as they approached the building, whose sign said VESUVIUS, nothing more. Directly in front, they heard a dull ominous roar. Checker put his hands gently on the front door, like cracking a safe; it trembled under his fingertips. Putting his finger to his lips, he led Rahim down an alley and pointed to a small window. Rahim climbed a trash can to see.
The pane buzzed in its frame; the glass tickled his hand. Here the sound was louder, huge and ceaseless, like a lion that never inhaled. Through the muddy window Rahim could see dimly inside, though he didn’t understand what he was looking at. Fire framed a square of black like an eclipse. As he watched, the black square moved to the side, and a long stick plunged into pulsing vermilion.
Lit only by this hellish glow, an unearthly woman pulled the rod from the fire. She was tall, which always unnerved Rahim in women. She wore a long industrial apron and dark glasses that flashed yellow when they caught the light. Her hair was tied back carelessly, but most of it was escaping. Cut jaggedly in different lengths, it was the hair that made this figure so amazing. Thick and wild, it raged from her head like black flames. Rahim felt he was witnessing some satanic worship service, with a lean, terrible shaman prodding a dangerous god.
While he told himself she was only a woman, Rahim felt even at first glance that this one demanded a whole other word. Trying to rub the window cleaner, Rahim stood up on his toes and took a step closer; his foot missed and he tumbled off the can. The barrel itself fell and made a terrific crash, for it seems the whole container was filled to the brim with bits of broken glass.
Checker laughed softly and helped him up. Together they began to throw the glass back in the barrel.
“Sh-sh!” said Checker, still laughing, when Rahim tossed a piece in the can and it smashed loudly hitting bottom. It was hard to see, and grasping for hunks in the dark Check exclaimed, “Jesus!” and pulled back. Rahim didn’t have a chance to ask what had happened before he looked up to find a molten glob pointed menacingly at him on the end of a metal pole.
“Move and you’re fried,” said a voice. “A minute ago this lump was twenty-four hundred degrees. It may be cooling fast, but it’s still hot enough to turn your face into a pork chop.”
Rahim froze, crouching; Checker, despite the warning, stood up.
The woman pointed a flashlight at Checker like a second weapon.
“What is that?” asked Checker, not sounding very frightened. “It’s fantastic!”
All three of them turned to the glob, changing quickly from a rich yellow to a duller, more smoldering red. As Checker reached toward it, the woman jerked it away.
“Hot glass, toddler. And what have you done to your hand?”
In the beam of the flashlight was a second red glob, on the end of Checker’s arm. There was a quiet, regular patter-patter; the woman trained the light on the ground, where Checker’s blood was spattering onto the chunks of clear glass. The glass sparkled, and the red drops bounced and drizzled over its crystals like expensive rain. Strange. It was beautiful.
“Sheckair!” Quickly Rahim shed his jacket and tore off his shirt, and began to wrap Check’s hand.
“Don’t use your dirty shirt,” she said sharply. “I have medical supplies inside. I suppose you can come in.” She led them reluctantly in the door and smashed the rod against the cement floor. The glass, now black, cracked off; she tossed the rod in a barrel and went to get first aid. “Christ,” Check heard her mutter on the way, “I start to run off hoodlums and end up playing Sara Barton.”
“That’s Clara Barton,” he shouted after her. Unexpectedly, she laughed.
Checker didn’t seem very concerned with his hand, more delighted to have weaseled his way in here. He and Rahim approached the furnace. Inside, the roar was deeper, striking a broader range of tones. Checker couldn’t take his eyes off the fire though at a certain point he stood back from the heat. In fact, the whole room was sweltering, and recalled the febrile interior of Plato’s Bar.
When she returned she switched on a light, to Rahim’s disappointment—it ruined the satanic religiosity of the scene. As she rinsed out Checker’s cut in warm water over her sink, they both stared at the glassblower, not quite as mysterious without the glow of the furnace, but no less intimidating.
Everything about her was long: her neck, her waist, her face. Her cheeks were hollow and drawn; her expressions were conducted in the narrow range between amusement and irritation. As she tended his hand, her face sharpened in an intentness that seemed usual. Her oversized green shirt billowed under her apron with accidental style. Her jeans shone with dirt. The musty smell wafting from them suggested she’d been in these clothes for a while.
“You’re filthy,” Check observed joyously as his blood ran in diluted swirls down the drain.
“You’re stupid,” she shot back. “Why were you and your friend crawling around in a pile of broken glass at four in the morning?”
“Watching you,” said Check. As she went for the antiseptic, he followed her hands. They looked older than the rest of her—fiftyish, sixtyish even—scarred and craggy, with abused nails. Her fingers were long like Caldwell’s, but ancient and knuckly. They tended his cut with care but authority, like a good mechanic’s.
“What are all these little scars?” she asked about his own hand, which was covered in small white lumps.
“From drumming.”
A look. “Violent.”
“Passionate.”
She laughed.
“Why is that funny?”
“Well, how old are you?”
“What does that have to do with passion?”
“Maybe nothing,” she admitted.
Her motions were jagged, like her hair. When she turned to find the gauze, a peak of hair touched his face; Checker reached up as if to brush it away, but really to feel it—a little coarse; he noticed a few strands of gray.
“How old are you?”
“Why?”
“Cause I can usually tell. You, I can’t place within ten years.”
“Twenty-nine.”
“I’d have guessed older.”
“Real diplomatic.”
“You’re not insulted.”
She stopped wrapping his hand and looked at Check as if seeing him for the first time. She seemed surprised by what she saw. “No?”
“It doesn’t matter to you, looking young,” Check explained. “Just now—I think you were flattered.”
The woman sucked in her cheeks and shot him a sour, bemused little smile. “Maybe.”
“You must finish wrap.”
This whole time Rahim had been following the medical process suspiciously, examining the label on the antiseptic; when she stopped working on the bandage Rahim couldn’t contain himself.
“What?”
“Wrap,” said Rahim staunchly.
“You spy on my work and knock over a whole barrel of cullet and I still take you in to patch up your bloody bungling and I don’t do it fast enough. So sorry.”
“’Sokay,” said Rahim, who had no sense of American sarcasm. “Just finish quickly, please. Sheckair vedy tired. I take him home now.”
“Well, I’m a little tired myself,” she said with genuine annoyance. Disappointed, Checker watched her tie up his hand summarily and stand, hands on her hips. She was taller than both of them.
“Come.” Rahim took Checker’s good hand and began to pull him toward the door. The Iraqi had his proprietary side, like a severe, overly protective secretary.
Check dragged. “Can I come back?”
“What for?”
“The glass. I want to watch.”
“You’ve been watching.”
“Tomorrow!” At last Rahim succeeded in hauling Checker out the door, but not before he’d gotten one last glimpse of the glassblower, who was looking at him, he thought, terrifically hard. She had the same drastic features as Caldwell Sweets, and she certainly did look older than twenty-nine, but Checker, who had a lot of experience with looking at people right, knew full well that she was gorgeous.
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Lionel Shriver
From the Orange Prize winning author of We Need to Talk About Kevin this is a novel about what it takes to make it in music. How charisma is worth its weight in gold. And how jealously can grow until it has eaten away at a musician’s heart.He has that thing that they’d all pay for but can’t buy: on stage and off, the 19-year-old rock drummer Checker Secretti is electric. When he plays with his band The Derailleurs, the natives of Astoria, Queens clamour for a piece of him. But charisma comes at a price. A Salieri to Checker’s Mozart, the fiercely envious fellow drummer Eaton Striker is eager to sow discord among the Derailleurs, that he might replace the exasperatingly popular goody-goody in the close-knit neighbourhood’s affections.An examination of the passion, the jealousy and the friendship of young musicians trying to break out, Checker and The Derailleurs is also about cycling, rock lyrics, glass blowing, the marriage of convenience, and—most of all—the mystery of joy.
Copyright (#u01109050-7a1b-5d9c-9735-849b24773c94)
The Borough Press
An imprint of HarperCollinsPublishers
1, London Bridge Street
London SE1 9GF
www.harpercollins.co.uk (http://www.harpercollins.co.uk)
Published by HarperCollinsPublishers 2015
First published in the USA by Farrar, Straus and Giroux 1988
Copyright © Lionel Shriver 1988
Cover design © HarperCollinsPublishers 2015
Cover photograph © Shutterstock.com (http://www.Shutterstock.com)
Lionel Shriver asserts the moral right to be identified as the author of this work
A catalogue record for this book is available from the British Library
This novel is entirely a work of fiction. The names, characters and incidents portrayed in it, while at times based on historical figures, are the work of the author’s imagination.
The author gratefully acknowledges permission to quote from the following published works: “Bang the Drum All Day” by Todd Rundgren, copyright © 1983 Fiction Music, Inc./Humanoid Music (BMI), all rights reserved / “Eleanor Rigby,” words and music by John Lennon and Paul McCartney, copyright © 1966 Northern Songs Ltd., all rights for the U.S., Canada and Mexico controlled and administered by Blackwood Music Inc. under license from ATV Music (MACLEN), all rights reserved, international copyright secured, used by permission / “Darkness” by Stewart Copeland, copyright © 1981 Reggatta Music, Ltd., administered by Atlantic Music Corporation / “Dancing in the Dark” by Bruce Springsteen, copyright © 1984 Bruce Springsteen, all rights reserved, used with permission / “Blinded by the Light” by Bruce Springsteen copyright © 1973 Bruce Springsteen, all rights reserved, used with permission / “Save the Life of My Child” by Paul Simon, copyright © 1968 Paul Simon, used by permission, Inc., all rights reserved, used by permission / “Love over Gold” by Mark Knopfler, copyright © 1982 Chariscourt Ltd. (PRS), all rights administered in the U.S. and Canada by Almo Music Corp. (ASCAP), all rights reserved international copyright secured / “The Man’s Too Strong” by Mark Knopfler, copyright © 1985 Chariscourt Limited (PRS), all rights administered by Rondor Music (London) Ltd., administered in the U.S. and Canada by Almo Music Corp (ASCAP), all rights reserved, international copyright secured.
The drawings reproduced in Checker and The Derailleurs are by Lionel Shriver.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins e-books
Source ISBN: 9780007564033
Ebook Edition © 2015 ISBN: 9780007564040
Version: 2015-01-13
Dedication (#u01109050-7a1b-5d9c-9735-849b24773c94)
To someone who doesn’t deserve it, as he very well knows
(#u01109050-7a1b-5d9c-9735-849b24773c94)
Well I have tried to be meek
And I have tried to be mild
But I spat like a woman
And sulked like a child …
And I can still hear his laughter
And I can still hear his song
The man’s too big
The man’s too strong
DIRE STRAITS
“The Man’s Too Strong,”
Brothers in Arms
Table of Contents
Cover (#u6bd234eb-9984-585c-b6be-34a3b484735f)
Title Page (#u8160323d-86d7-5b1b-99d5-4338dc890e9e)
Copyright (#u5b10c8c0-84ce-5a3f-a870-0326cf7df146)
Dedication (#uea349b4f-0e01-508c-8e19-3d0394b0b672)
Epigraph (#ud67b25d5-5da2-55f2-a9d1-875cd4cb0c09)
1. blinded by the light (#u77c2fddc-e021-5e9a-8382-884e0d041b15)
2. blood and crystal (#u54e6e9fb-4811-55c2-a558-f892603646d2)
3. bad company (#u8f3ce3f4-657d-5a3f-8a31-3a2b97b0ab31)
4. the house of the fire queen (#ub19e3abe-cb07-5b21-83bb-6aa1f33e5137)
5. bye, bye, miss american pie (#u5bd53287-8c92-5904-816c-3320e3103660)
6. simply red (#u0d46bd66-1ca6-5429-a9cb-1140ad03e429)
7. my love is chemical (#u24fdcafe-560e-5252-bcb3-cdf58aea2397)
8. hot rocks, or: the igneous apartment (#ub18bb179-0d1a-5176-a3ae-d3c908ecc319)
9. in defense of subjective reality (#ua0a17c67-9319-56fe-9f5d-ed2841951567)
10. howard and the flow state (#ue4610e7b-52cb-5fc9-b814-7d0366fdb28e)
11. the newlywed game (#ud1e9885c-6be2-50a9-9606-d0309808f5b3)
12. don’t be crue (#ubca9610c-b9de-5f83-a463-9356e846e0f3)
13. too much information (#u5ed09606-14bf-5d99-abf2-97bcd3540340)
14. close to the edge (#uc73f730a-44f3-5ec9-870c-55cb77af7d19)
15. it’s hard to be a saint in the city (#ue7da767c-5ef5-57a0-bac7-1e63ccb63144)
16. why we fought world war II (#u6f5dadd7-4793-594f-b50a-84df62483406)
17. the checkers speech (#u83be001b-007b-5f92-a811-5d593ab5909c)
18. the party’s over (#u84b2d9a3-ca84-5ea8-ad8d-4a953b19f642)
19. the last supper (#ud49e835f-feae-5c25-ae00-79d064693143)
20. into white (#u54632b00-14ed-50a2-8a6e-3ae032d26d06)
21. a cappella in the underpass (#uf75a14fa-73da-56f6-83ab-5260359c359c)
22. a little help from my friends (#ua939d033-6528-5892-9ab4-0bed7919d409)
23. the ghost in the machine (#u9808b087-e5fe-5e66-be53-6e5ce6a963b0)
24. comfortably numb (#u535bff5d-bbc0-55a0-adb7-23408dc1ee57)
25. spirits in the material world (#ub057f426-fbcd-5bd8-99f4-fc673a001363)
epilogue. oh, you mean that checker secretti (#u498de069-6a59-51f0-8bcc-c2cba0851bc5)
footnotes (#uf2ff4c91-85e3-56bf-8ff9-316fcc6089b2)
index of song titles (#u79e4c8e9-db86-5825-a395-bdd1981525b0)
About the Book (#u58286319-c3be-53b7-934e-17b09e97c7a9)
Praise for Checker and The Derailleurs (#u6794e60b-2571-5ce0-b85c-2262ed8ae4cb)
About the Author (#uc26a59c3-a8c7-5e74-8875-804afd0c501b)
Also by Lionel Shriver (#u93db85c0-d76a-569d-887e-b2f2e4400908)
About the Publisher (#u8adecfef-ff3f-51c6-991d-04c6aa4de21a)
Checker’s favorite color is red
1 / blinded by the light (#u01109050-7a1b-5d9c-9735-849b24773c94)
Foreboding overcame Eaton Striker well before The Derailleurs began to play. Much as Eaton would have preferred to chum obliviously with his friends, he could only stare at the stage as the drummer stepped up to those ramshackle Leedys and the damned skins began to purr.
“Who is that?” asked Eaton, not sure he really wanted to know. The drummer percolated on his throne, never still, bloop, bloop, like coffee in the morning—that color; that welcome.
“Checker Secretti,” said Brinkley, with irritating emphasis. “Where have you been, the moon?”
“He’s talking to his traps!” exclaimed Eaton, in whose disturbed imagination the instruments were answering back.
“Yeah, he did that last time,” said Brinkley the Expert. “Checker’s a bit touched, if you ask me.”
“I didn’t.” Eaton slouched in his chair.
The humidity here was curiously high. A plumbing problem in the basement dripped right on the heater, so the whole club felt like a steam room—there was actually a slight fog; vapor beaded on the windowpanes. A proliferation of candles sent soft, flickering profiles against the walls. With its vastly unremarkable decor, Eaton couldn’t explain the crawling effect of the place as he nestled down in the seductively comfortable chair, taking deeper, slower breaths and saying nicer things to his friends. Eaton squirmed. He tried to sit up straight. He looked suspiciously into his Johnnie Walker, thinking, Black, hah! since places like this bought gallons of Vat 69 and funneled it into name-brand bottles. Yet this was confoundingly good whiskey, some of the best he’d ever tasted. The waitress, though definite woof-woof material at first glance, now looked pretty. Eaton felt he was drowning and fought violently to rise to the surface, to breathe cold, hard air, to hear his own voice with its familiar steeliness, instead of the mushy, underwater murmur it had acquired since they’d sat down.
The drums sounded so eager, so excited. Checker laid a stick, once, bip, on the snare and it jumped; so did Eaton. Every time a quick rat-tat rang through the room, the audience looked up; the waitress turned brightly to the stage. When Checker nudged the bass to adjust the blanket curled inside its shell, women at tables stroked their own hair; men extended languorously into the aisles. The beater sent a shudder through the length of Eaton’s body.
Eaton had been taking drum lessons from an expensive instructor in Manhattan since he was seven, and though he hardly ever heard a song that was fully to his liking, when that rare riff floated over the airways a cut above the ordinary fill, he took notice. Eaton was a snob, and would admit it to anyone, but in some ways he really was better than these people, rightfully not at home in provincial Astoria. He was bright; he had an uncanny sense of other people, even if it was largely for their failings; and he knew excellence. So while somewhere in the boy’s mind he was aware that he didn’t hear it when he himself played, he was hearing it now.
The first phrase rose and fell like a breath. Sticks rippled like muscle, and teased, tingling, resting on the edge of the ride. Again, Eaton involuntarily inhaling with them, the blond sticks curled up to the snare and spread to the toms, the crash, to ting, ting, ting … Someone laughed. Checker skimmed his tips across the supple ridges of the brass, raising the long, dark hairs on Eaton’s arms. Yet Eaton could see Checker was just loosening up, ranging around the drums as if stretching at the start of a day. He kept low through the whole of “Frozen Towels.” Slowly through “Fresh Batteries,” though a strange blissful smile crept onto his face, and the music began to move underneath like lava with a crust on top—the cooler surface would crack in places, show red, let out steam; all at once the music would move forward, rushing into the club like a flow, veined with the sure signs of a dangerous interior. The keyboardist had to stand up, pushing his chair back; the musicians out front gradually stepped away to give the drums more space, until, there, pouring from the back of the stage, came an unrestrained surge of rhythm like a red wall of melted rock.
Yet later Checker slowed the lava, the blood, to a sly trickle. The restraint hurt to hear. The rest of the band, too, retreated to small, stingy sounds. The club grew stupendously quiet. Not a drink clinked, not a shoe scuffled. The sax thinned to a spidery thread of a note; the keyboard took to a small high chord; the bassist and lead guitarist hugged their instruments selfishly to their bodies, and no sooner struck a note than took it back. But quietest of all were the drums, pattering, the sticks like fingertips, until Checker was no longer on the heads themselves but only on the rims, ticking, rapid, but receding all the more. The audience was leaning forward, barely breathing. But the sound, meanly, left them, though it was a good five seconds before they realized that the band had ceased to play.
In the midst of this silence Checker began to laugh. “Clap, you sons of bitches!” And they did.
Eaton excused himself to go to the men’s room. He leaned over the sink, bracing his hands on either side of the porcelain, panting. Looking up in the mirror, he found his usually handsome, narrow face pasty, with sweat at the hairline. Eaton leaned against the wall with his eyes closed and waited there through the entire break.
For the second set, Eaton could listen more clinically. He noted the tunes were original and several had to do with bicycling, of all things, like the name of the band: “Cotterless Cranks,” “Big Bottom Bracket,” “Flat without a Patchkit on the Palisades” “Cycle Killer” and “Blue Suede Brakeshoes.” Or “Perpendicular Grates,” to which Eaton caught most of the words:
Don’t jump your red tonight,
You big yellow Checker.
I’m coming through the light
At its last yellow flicker.
Shine your bulging brights
Right into my reflectors.
Listen close and you might
Hear my freewheel ticker-ticker.
Hey, city slickers:
Lay perpendicular grates!
Chuck those rectangular plates!
One pothole on Sixth Avenue
Goes all the way to China.
I am a midtown
Pedal pusher.
I am a traffic
Bushwhacker.
My brakes are clogged
With little children.
Greasy strays
Keep my gears workin’.
Doggies, watch your tails;
Old ladies, hold your bladders.
Scarvy starlets, trim your sails
Or choke on Isadora tatters.
Better step back to the curb—
Enough women are battered.
Brave Lolitas, round the curve,
You don’t want to be flatter.
Hey, hard-hatters:
Lay perpendicular grates!
Chuck those rectangular plates!
One pothole on Sixth Avenue
Goes all the way to China.
I am a midtown
Pedal-pusher.
I am a traffic
Bushwhacker.
My brakes are clogged
With little children.
Greasy strays
Keep my gears workin’ …
Eaton told himself that songs about bicycling were silly. He even managed to turn to Brinkley between tunes and advise him, “You know, technically, the guy’s a mess.” True, Checker played as if he’d never had a drum lesson in his life. He held his sticks like pencils. Yet Eaton had never seen such terrific independence, for Checker’s hands were like two drastically different children of the same parents—one could read in the corner while the other played football. What was Eaton going to do? Bitchy carping from the sidelines wouldn’t improve matters. And everyone looked so happy! The band and the audience together swayed on the tide of Checker Secretti’s rolling snare. How does he do it? Even the little singer, a perpetually dolorous girl by all appearances, had a quiet glow, like a night-light. Eaton actually wondered for one split second, since he knew percussion better than anyone in the club, why he wasn’t the happiest person here. But that moment passed, and had such a strange quality that he didn’t even retain a memory of it, until Eaton was left at the end of the last set wishing to plant Plato’s and everyone in it three miles deep in the Atlantic, safely buried below schools of barracuda, in airtight drums like toxic waste.
Yet, more or less, Eaton had decided what to do.
After the applause and catcalls had died down, Eaton turned to Brinkley and said severely, “Brink, you dungwad, you told me that Secretti was okay.”
“I didn’t say he, like, raised the dead or anything.”
“Could’ve been playing trash cans with chopsticks,” said Gilbert. “Not like Eat here. Now, Eat’s a drummer.”
“Uh-huh,” said Eaton, turning to Rad. “And what did you make of Secretti?”
Rad twisted a little. During the performance he’d been nodding his head and tapping the table with the heel of his beer. “Bang, bang. Another local band. They’ll be gone soon. The world won’t have changed much.”
Eaton surveyed his compatriots in silence. All three of them were nervous and weren’t sure why. “So you three”—Eaton rolled the ice around his glass—“think he sucks? Basically?”
They shuffled and nodded.
“Then you all have dicks for brains.”
“What?” they asked in unison.
“The man is brilliant. Steve Gadd raised to a goddamned power. One fresh piece of cake in a pile of stale Astoria corn muffins and you guys don’t know the difference.”
“But you said technically he’s a mess—”
“Unorthodox. May not have much training. All the more impressive, then. The man’s a genius.”
Eaton’s three henchmen were staring at their friend as if he’d just announced he was giving up rock and roll for polka music.
“Yeah, well,” said Brinkley. “I said he was okay, right?”
“Okay!” Eaton rolled his eyes and stood up. “With this crowd I need drink.” He walked away and didn’t come back.
“That was exemplary.”
Plato’s may never have heard the word “exemplary” before; its syllables queered against the walls.
“I was humbled,” Eaton went on, bent formally at the waist, as if he’d watched too much Masterpiece Theatre. “You’re a giant. And far better than these people know.”
“I think they know us just fine,” said Checker, looking disconcerted. Compliments made him queasy. Checker himself didn’t think about the way he played. He didn’t want to, either.
“You’re better than you know,” Eaton pressed. “It’s time someone told you. So, please.” Eaton handed Checker his card. “I know the names of some club owners in Manhattan. Or if you need anything at all, please call. Good night, all.” With a quick flourish Eaton made a swift departure. After all, he wasn’t sure how much longer he could keep this up.
In the defined caste of high school, Eaton Striker had played a precise role, exactly shy of stardom. He passed that crucial test: more students knew his name than he knew theirs. He was The Drummer, and relished sitting in the cafeteria with a drumstick stuck behind his ear, ticking paradiddles on his tray with silverware. Yet while his traps and his rock bands saved him from obscurity, they didn’t secure him quite the premier position he felt he deserved. There was always one more table next to his where every student yearned to sit, and they’d settle for Eaton’s only when the first was full.
In every area Eaton was plagued with not-quiteness. There was a particular lancet-witted brunette, Stephanie, whose quips in his direction prickled his skin like the sting of a slap, but that was all the tribute he could win from her; on the other hand, Stephanie’s slightly less attractive, slightly less sharp best friend showed up for every one of Eaton’s early gigs. Now, he did finally acquiesce and take Charlotte as his girlfriend, enjoying the pleasant lopsidedness of the relationship—she typed his papers and packed his drums and ruined a perfectly good denim jacket with embroidery as a “surprise.” All he had to do in return was treat her badly, for which Eaton seemed to have been born with a certain gift. But seeing Charlotte with first prize was torture. Eaton was dating the kewpie doll while someone else was wrapped around the big stuffed bear.
All second prizes are insults. Eaton believed that. When in the senior talent show his band, Nuclear War, was awarded second place, Eaton strode from the stage and in front of the whole assembly stuffed the certificate perfunctorily in a trash can. When Eaton’s cronies nominated him for student council office, it was for vice president; he lost to a girl.
Even Eaton’s grades were never perfectly straight-A. There was always one teacher who had it in for him in one of those mealy subjects—English, social studies—where the teacher’s feeble judgment came into play. Eaton preferred math—his work was right or wrong, whether or not the instructor despised him. For while Eaton was never directly insolent, his sly, grimly bemused expression nagged his teachers like a persistent hangnail. Whenever they talked to him after class he turned his head to watch them out of the corners of his eyes, his responses laconic; he always seemed to indicate that a great deal was being left unsaid. On any point of conflict his teachers quickly abandoned personal appeals and fell back on brisk legalistic resolutions.
These were uneasy relationships. Eaton’s intelligence would never redound to his teachers’ glory. Rather, each would shine at the expense of the other. That was the stanchion of Eaton’s world view, and it was contagious.
So Eaton was the hero of the B+ students, revered by the type in elementary school picked third or fourth for a kickball team of ten. Burdened by Eaton’s disappointment, his following had a high turnover; his rock bands were always breaking up. At the moment, out of school over half a year now, Eaton was once more without a band, and it was harder to assemble a new one without high school; he paged through the ads in the SoHo News listlessly on Saturday afternoons. Eaton yearned for caliber. The idea of collecting one more second-rate rock band filled him with a precocious exhaustion.
That Eaton would end up at Plato’s was inevitable. By January he had been actively avoiding the place, spending Friday nights instead at Billy’s Pub, Grecian Gardens, Taverna 27, bars that never managed to persuade you they were anything more than rooms with bottles, full of bowlers and plumbers all too eager to confide the trials of the kind of life Eaton planned to transcend. Yet even Taverna 27 was better than the chromier corners, decorated like Alexander’s at Christmas and cranking out Van Halen on the juke, cramped with high-school juniors constantly combing their hair. Eaton was only nineteen, but he’d said goodbye to all that.
There was always Manhattan, but Eaton hated coming back at four in the morning on the subway with all the plebes who couldn’t afford a car. Eaton couldn’t afford a car, either, but he was the kind of person who really should have been able to, and a pretty damned nice car at that. (Eaton’s sense of justice was frequently confounded. Eaton should have X and Eaton did have Y, and the disparity didn’t anger him exactly—his reaction was deeper than that. It disturbed him. When Eaton didn’t get what he deserved, he felt the earth—move—under his feet—Carole King. Yich.) In the city, scrunched against the bar with his friends, Eaton would slip the straw of his screwdriver between a gap in his teeth, having to repeat three times over the music how these clubs were “tedious,” though he privately considered them far more evil than that—the heaving, shifting mass of dancers would undulate and suck against him like some lowlife sea creature, swallowing him in anonymity, digesting him alive and spitting his remains out the door at three, forty dollars poorer.
Furthermore, Eaton was underage, and though he usually cooled his way past the bouncer by paying the cover with an unusually large bill, Eaton craved legitimation. He hated being nineteen. He remembered with humiliation the other night at Van Dam’s, when the thirtyish man beside him had asked him, as a drummer, what did he think of “In-A-Gadda-Da-Vida”?
“Amusing, but finally bogus. I didn’t go along with the brouhaha over the album when it first came out.”
“Come on!” said the man. “It came out in ’68! You were listening to Iron Butterfly when you were one?”
Eaton couldn’t wait to turn thirty and do the same thing to kids sitting next to him. In the meantime, he listened to the radio with a pencil, and haunted the aisles of Tower Records like a law student in the stacks, studying jackets like torts, reading the fine print—dates, producers. He put together histories of who left what band and started this one, reading Rolling Stone cover to cover, determined never to be caught out by aging rock has-beens in Manhattan again.
Eaton yearned for a club where patrons knocked him on the shoulder and cleared room for him at the bar, where the waitresses knew him by name and remembered his liquor brands. Eaton liked to be recognized, and Astoria should have been the place for that; a small-towny Greek neighborhood in Queens with friendly shopkeepers and good-old-boy bars, Astoria would transplant easily to the middle of Iowa. Eaton’s failure to carve a niche even here was one more of those disconcerting challenges to his stature, for if he went to the same bar several nights running, Eaton would sure enough get recognized, but no one seemed very happy to see him.
Besides, everyone said Plato’s was “good,” though the word had put Eaton off distinctly. They said it the way you’d say a “good woman,” meaning ugly. Plato’s was a “good club” the way you’d say Jerusalem was good, somewhere in the Bible.
The following Friday night Eaton kept putting on his coat and taking it off again. He’d flounce in a chair, tap his fingers, turn up the radio—Journey. Awful. Off. Tap, tap, tap. Finally, he grabbed the cashmere once and for all and rushed out the door.
Gliding in with his crew, Eaton glanced hastily around the club; when he failed to find what he was looking for, his stomach sank, just as it had when Charlotte showed up at his gigs without Stephanie. The place suddenly felt flat. This time, Eaton wondered why he’d concerned himself with Plato’s at all—low-lit and woody, with no track lighting or rippling bulbs around the bar, the club made no effort at any kind of effect. Furthermore, at almost midnight, there was no music. Maybe The Derailleurs were on a break, but if so they couldn’t have bubbled anybody’s hormones—the immediate feeling of the crowd was subdued, even depressed. No one was talking very loud, and everyone seemed sober.
“This place is sure different from last time,” said Brinkley.
“This isn’t a club, it’s a morgue!” said Gilbert.
They sat in the corner, refreshingly disgusted.
“I thought there was supposed to be live music here,” Eaton charged the waitress.
She sighed. “Well, it’s happened again. You know. Check. Maybe next week. Maybe even tomorrow.”
“You lost me.”
She looked at Eaton more closely. “Oh, you’re new here, aren’t you?”
“I have to be a member?”
“No, it’s just regulars are used to this. Checker—disappears.” Raising her eyes enigmatically, she swished her tray to the next table.
That explained it, for the rest of The Derailleurs were all propped at the front table. Breathing in her cloying wake reminded Eaton of passing cosmetics counters, with their nauseating reek of mixed perfumes.
Standing abruptly in the middle of Brinkley and Gilbert’s riveting debate over tequila-salt-lemon vs. tequila-lemon-salt, Eaton swirled his black cashmere greatcoat around his shoulders and strode to the lead guitar.
“Not playing tonight?” Eaton inquired.
“Our head man just won an all-expenses-paid trip to Florida,” said the blond longhair dourly.
“That’s surprising, for a band with your reputation—”
“What have you heard about The Derailleurs?” asked the straight kid, whose ears stuck out from his head.
“We don’t need to hear about The Derailleurs, Howard,” said the longhair. “We are The Derailleurs. We know all about us already.”
“I was wondering,” said Eaton, “since your delinquent member—”
“Nobody said he a delinquent,” said the big black bassist.
“Your man in Florida, then.”
“Our man,” said the bassist firmly, “period.”
Eaton took a breath and smiled. “Of course. It’s just, I’ve kicked around the drums myself. I’m only so good, but if you stuck to covers I could keep a steady three-four. I wouldn’t presume to equal your own stunning percussionist. But for the hell of it, maybe I could fill in?” Eaton looked gamely around the table.
“As the manager—” Howard began.
“Howard listens,” said the guitarist.
“Would he like to listen tonight?” asked Eaton solicitously.
“No.”
They turned toward the end of the table. The Middle Eastern saxophonist had folded his arms. “We half our drummer.”
“On the contrary,” said Eaton, “it seems that you don’t.”
“You say you not so good. Why we play with you, not-so-good?”
“Excuse me, but can he understand me? I see we have some second-language problems here.”
“Rrreal fine, slime mold,” said the saxophonist for himself.
“Aw, can it, Hijack,” said the bassist. “Check on vacation, pull this night out somehow. Let’s play.” Rolling to a stand, he led the rest of the band to the dais.
Eaton took his seat on the throne and pulled his own drumsticks out of his greatcoat. He tested the tom and it went thwap! What? The heads were completely loosened—and no wonder. Calf skins! There wasn’t a rock drummer in this country who used calf skins. With annoyance, Eaton went through the tedious process of racheting the lugs tight and testing around the rim to get them even. Somehow they—resisted. The heads weren’t interested in attaining the tautness Eaton required.
Eaton tried the tuning with a snappy run around the pieces. God, what a pile of tin cans. The hardware rattled. There was a buzz in the bass. And the whole set was ancient, big band or before, though Eaton did admire the Zildjian-K’s—you hardly ever saw those nowadays, hand-hammered Armenian cymbals, exquisitely thin. Even the ride rang with a long resonant shimmer at the touch of his stick, though to Eaton’s taste they were a little oversensitive; they—winced. He eyed the set; it seemed to eye him back. But Eaton knew how to discipline inanimate objects. Whenever his possessions broke, which was often, he imagined he was getting the last laugh.
“Boys and girls, you may have heard we’ve been caught out Checkless,” the lanky guitarist began. “However, with a volunteer from our studio audience, we’ll proceed. In consideration of our guest, only familiar favorites, please.”
When they began with “Louie, Louie,” the whole band had their ears cocked for Eaton’s drumming, though that proved unnecessary—they could barely hear anything else. The guitarist forced his voice; the bassist turned up his level; the keyboardist, something of a delicate touch the weekend before, torqued up his electric piano. When Hijack opened into a sax solo, Eaton bore down all the more, until the horn player was inserting the mic in his bell.
At the end of the song, the saxophonist turned to Eaton behind him. “You break Sheckair’s head,” he said quietly, “I break yours.”
As they grated through Hard Cheese’s “Two Is a Crowd” and on to “Johnny B. Good,” Eaton pushed the tempo when the lead slowed down; he dragged just as the bass thrummed forward. Because drums set the standard, this left the musicians out front sounding out of sync. Further, even when the band was playing together, they all rushed toward the song’s conclusion, as if to end was to win, as if the reason to play it was to get it over with. And it wasn’t only Eaton, either. They all lashed their instruments, spitting the words out like projectiles they hoped would hit someone on the head. You got the feeling that after listening to a song like that Johnny would be very, very bad.
With “(I Can’t Get No) Satisfaction” Plato’s moist air turned acrid with evaporating sweat. The crowd, though not seemingly disappointed, was unusually rude; one patron in the back kept yelling, “Kill ’em!” waving his hands until he spilled his beer. A fight broke out by the bar; waitresses got testy and started carding; boys got grabby and girls got bitchy; customers recklessly mixed their poisons and threw up in the bathroom. Still, they were all apparently convinced they were having a wonderful time.
When the band took a break, The Derailleurs save the Middle Eastern muttered something to Eaton about “good job,” but their remarks were muffled and short. Everyone but the girl went to swill down something stiff. Eaton felt the victim of a great lack of generosity. He may not have ever experienced genuine, spontaneous acclaim, but he knew this wasn’t it.
When Eaton sat down for the next set the drums glared at him like prison labor.
Eaton outdid himself. The toms tippled in their brackets; the bass edged gradually from his foot; the Zildjian-K’s began to tremble from the shadow of his hand. He broke five hickory drumsticks.
The guitarist suggested they do a slow song and let the girl sing. Rachel DeBruin had a sweet, mournful presence that could surely calm the band down, and maybe the crowd, now growing unruly. The band never had her sing too often, since she made audiences pensive; she recalled lost summers and first loves. On good nights she could raise a napkin to the corner of a biker’s eye. Tonight, however, they would settle for quiet.
Yet when she sang “The Last Time I Saw Richard,” its sweet romantic disappointment bittered; the other musicians harmonized in their heads. Welsher, thought Caldwell, the guitarist. His “friend” J.K. had owed him fifty dollars since July. Strumming next to Caldwell, J.K. felt his bass droop; he’d been lugging mail sacks for the post office all week, and his arms were tired. Two of his friends had left for Jamaica earlier in the week, but J.K. couldn’t go, no—as usual. He had a wife and daughter to support. What a hero, he thought sourly. All day long postcards had spilled from his sacks, of palm trees, greased-up girls, with messages like “Water warm, rum cheap.” The keyboardist, Carl Ming, kept forgetting the chords, but helplessly remembering everything else—fifth grade came at him like a submarine torpedo: four boys, a big brass spatula for a paddle, and a fence. Since his childhood was enough of a torment the first time, “Quiet Carl” wasn’t the nostalgic type; memory itself was assault.
Howard glared from the front table. They thought they were so hot, prancing around on stage. All the errands he ran for those guys, their thanks jokes at his expense. Airheads. Howard recited to himself his very high SAT scores. Meanwhile, the Middle Eastern saxophonist glanced disdainfully down at the audience. Self-satisfied Americans. Rich land, good weather, all those cars, completely wasted on 240 million fat sheep.
In the song, a woman sits in a bar getting drunk, mooning over an old boyfriend; the place is about to close, and the waitress wants her to finish her drink. That’s me, thought Rachel. Twenty years from now, that’s me. Same bar, same man. That bastard. Some days I don’t know what I want more, to slit his throat or mine.
Yet Eaton, insofar as he was capable of the emotion, was perfectly happy.
So there you have The Derailleurs—a motley or tropical crew, depending on your mood. The picture of that obscure Queens rock band, tripping over frayed cords fat with electrician’s tape, could appear credibly striking, but you have to look at them right. Otherwise, especially with indigestion or maybe just an indigenously surly disposition, you might notice how Caldwell is overdrawn, like a cartoon—his nose is enormous, his arms are too long, a vein on his temple protrudes. He jitters around the stage in a panic, constantly adjusting amp settings and checking the jacks, in the grip of some terror, but only nineteen—what is there to be afraid of? Rachel, lost in her big maroon sweater half unraveled down the front, is arguably mousy. She always looks at the floor. Rachel is Bowie’s original China Doll, perched on the edge of the stage—when she shatters you won’t want to be around to pick up the pieces. Someday someone will have to take the blame for Rachel DeBruin. J.K.? One more hunky black kid, likes his beer, his rock and roll—a known quantity. Hijack, whose real name is Rahim Abdul, is too pretty for a boy. And in New York you sure get tired of foreigners. Those accents aren’t quaint or exotic anymore after about week 6 here. From then on, it’s just, I need a cabbage, a small one; Excuse—? A cabbage! Like that. Quiet Carl never says a damn thing, and who needs that. As for Howard Williams, their “manager”? Squid. Boat shoes! Oh, he isn’t exactly ugly—Howard has even, regular American features with nice thick brown American hair—but to whatever degree looks are style, Howard is hideous.
However, it would be possible to execute a little turn like flicking the channel over and back again; the picture, black and white a moment before, blushes to color. Suddenly the spotlight on stage shadows Caldwell’s face with the exotic expressions of a Kabuki mask. He has long, elegant fingers. His hair is bright gold. True, he’s frightened, but at nineteen there’s plenty to be afraid of, like the rest of your life. Rachel is no longer mousy, but delicate. If you circled your thumb and middle finger around her wrist, both end joints would overlap. J.K. is big rather than fat, comfortable and unpretentious as an overstuffed armchair. And so what if Rahim is pretty? Beautiful teeth—matched pearls, a two-string smile. Further, sometimes it’s possible to recuperate that delight in foreigners you had when you first came to New York. His r’s roll like water. Quiet Carl has a story, and you like stories. Howard is handsome, and you’re dying to tell him that. You want to take him shopping and buy him some shirts with color and jeans that don’t hike up like that, Hi-Tops instead of boat shoes. But you won’t. And Howard will keep buying the pale plaids and jeans that are big in the waist and short in the leg, and that makes you smile, because people are astonishingly consistent, so carefully themselves. You don’t mind. Why, he’s the only person you know who wears boat shoes.
What if you added Checker Secretti to this picture? Well, if your mood is sour, Checker isn’t very impressive. Few people seem to notice that he isn’t very tall, but you would notice. His brown skin, kinky hair, and blue eyes would disturb you, for you can’t quite tell what race he is, and it’s stressful when people resist normal categories. You might say he’s “cute,” but he’s no head turner. Not even as straight-out good-looking as, say, Eaton Striker. In fact, you would think this specifically: Not as good-looking as Eaton Striker, since, if you were eyeing Checker Secretti with just this narrow annoyance, you would be Eaton Striker.
But if you feel fine? If you understand that people are attractive not just for their strengths but for their shortcomings? Then how would Checker Secretti look?
You might see the shadow of a nose, the flicker of a hand, a rolled-up sleeve of bright red cotton, but you wouldn’t see the man from head to toe, and it wouldn’t occur to you to wonder whether he was a head turner, because, leaning in the frame of the door, you would have to be Checker Secretti himself.
2 / blood and crystal (#u01109050-7a1b-5d9c-9735-849b24773c94)
… and when you finally reappear / at the place where you came in / you’ve thrown your love to all the strangers / and caution to the wind—
“Sheckair!” Rahim stopped cold in the middle of “Love over Gold” and unstrapped his sax to bound from the stage. The rest of the band dribbled off; Eaton was the last to stop playing. Running to the doorway, Rahim clapped Checker’s hand and turned him fully around like a square-dance figure, laughed, and planted a big, unembarrassed kiss on each of Checker’s cheeks.
Between three and five, Plato’s usually settled down to a small core of customers; The Derailleurs would put away their instruments and everyone put his feet up. The drinking slowed to a trickle, and even diehard rockers grew philosophical. Not tonight. They all pulled on their coats when Check walked forward, slinking out of the club hastily as if leaving the scene of a crime.
“You just get here?” asked Caldwell, fidgeting with his gig bag.
“Caught some of that last set.”
“Yeah, well.” A strap was caught in the zipper, and Caldwell went about solving the problem intently. “Just screwing around. You weren’t here.”
“We’ve been through this.”
“Well, you can’t expect us to be any good,” Caldwell burst out, “without you.”
Checker’s eyes were steady, neutral. “It was interesting.”
“You are toast, man,” said J.K.
“I am a little tired.” Checker turned. “Howard, you arranged a substitute. Good management.”
Howard envied Rahim’s leaping Virginia Reel, but could only swing an awkward, premeditated hug. “You look terrible!”
“Thanks, Howard.”
“No, I mean—”
“You mean I look terrible. Mr. Striker?” Checker pulled a tattered paper from his pocket and read, “Drummer Extraordinaire.”
Eaton felt embarrassed by his own business card, and glared as if the pretentious tag was Checker’s fault. Checker only looked back at him with exposing directness. Eaton felt discovered. Yet when Eaton glanced away and back again, Checker’s expression no longer appeared incisive. There was a deadness or calm in the corners of his blue eyes—blind spots. If Checker were a car, it seems, Eaton Striker would be positioned perfectly behind the right back fender.
“Some drumming,” said Checker.
“It’s a battle, with these tubs.”
“The drums are supposed to be on your side.”
“These aren’t very responsive.”
“Calf heads are subtle.”
“I don’t think of drums as a subtle instrument.”
“Yes. I can see you don’t.”
Checker smiled slightly, and Eaton felt condescended to. His chin rose in the air. “Antiques, aren’t they?”
“’Forty-eight,” said Check. “A good year.”
“Might consider replacing them. The shells made now are smaller, tighter, sharper. These are muddy.”
“Thanks for the advice. But I’ve had these since I was nine. If I replaced them they’d be hurt.”
“And when you forget their birthday, do they cry?”
“I don’t know,” said Check mildly. “I’ve never forgotten their birthday.”
Check eased into a chair and leaned his neck over the back, closing his eyes. Rahim dipped a napkin into the ice remaining in a drink and wiped across Checker’s forehead. “Sheckair don sleep?”
“Not much, Hijack.” No one asked him where he’d been. No one asked him why he hadn’t slept.
While Check dozed, Rahim cooled the drummer’s neck and patted it dry with the tail of his shirt, rearranged Checker’s collar, and finally stood at attention beside him like a bodyguard, eyeing Eaton occasionally as a potential assassin. The rest of the band quietly packed up and helped the waitress clear drinks. No one talked, but gently the acid dispersed from the room, the heat clanking up from the basement with a fresh burst of steam. Shyly they found each other’s picks and spare strings. Sweeping up, Caldwell decided that fifty dollars wasn’t very much money, after all. J.K. realized that he’d only want to go to Jamaica if he could take Ceil and the kid with him; that people who counted on you were burdens or assets, all depending on how you looked at them. Carl helped wash the dishes and noticed how the waitress managed to talk to him in a way that didn’t demand he answer back, but still made him feel like part of a conversation. Wisps of childhood memories were still trailing through his mind, but he also recalled some other classmates—the girl with buck teeth, the little boy who smelled bad—who were tormented along with him. When he smiled at the waitress while she dried, she blushed.
Howard felt liked. Rahim felt American. Rachel felt sad, but Rachel always felt sad. And in the quiet, steamy closure of the dark club, surrounded by the sound of Checker’s breathing and the hollow expansion and contraction of the pipes below, Eaton Striker had to leave.
As Rahim walked him home Checker wheeled his bicycle between them, the clicking of the back hub ticking off the moments in precise, perfect points like the stars overhead, bright from cold.
Checker said, “I want to show you something.”
They detoured to a run-down industrial block of Astoria Boulevard. The sidewalk shook under their feet as they approached the building, whose sign said VESUVIUS, nothing more. Directly in front, they heard a dull ominous roar. Checker put his hands gently on the front door, like cracking a safe; it trembled under his fingertips. Putting his finger to his lips, he led Rahim down an alley and pointed to a small window. Rahim climbed a trash can to see.
The pane buzzed in its frame; the glass tickled his hand. Here the sound was louder, huge and ceaseless, like a lion that never inhaled. Through the muddy window Rahim could see dimly inside, though he didn’t understand what he was looking at. Fire framed a square of black like an eclipse. As he watched, the black square moved to the side, and a long stick plunged into pulsing vermilion.
Lit only by this hellish glow, an unearthly woman pulled the rod from the fire. She was tall, which always unnerved Rahim in women. She wore a long industrial apron and dark glasses that flashed yellow when they caught the light. Her hair was tied back carelessly, but most of it was escaping. Cut jaggedly in different lengths, it was the hair that made this figure so amazing. Thick and wild, it raged from her head like black flames. Rahim felt he was witnessing some satanic worship service, with a lean, terrible shaman prodding a dangerous god.
While he told himself she was only a woman, Rahim felt even at first glance that this one demanded a whole other word. Trying to rub the window cleaner, Rahim stood up on his toes and took a step closer; his foot missed and he tumbled off the can. The barrel itself fell and made a terrific crash, for it seems the whole container was filled to the brim with bits of broken glass.
Checker laughed softly and helped him up. Together they began to throw the glass back in the barrel.
“Sh-sh!” said Checker, still laughing, when Rahim tossed a piece in the can and it smashed loudly hitting bottom. It was hard to see, and grasping for hunks in the dark Check exclaimed, “Jesus!” and pulled back. Rahim didn’t have a chance to ask what had happened before he looked up to find a molten glob pointed menacingly at him on the end of a metal pole.
“Move and you’re fried,” said a voice. “A minute ago this lump was twenty-four hundred degrees. It may be cooling fast, but it’s still hot enough to turn your face into a pork chop.”
Rahim froze, crouching; Checker, despite the warning, stood up.
The woman pointed a flashlight at Checker like a second weapon.
“What is that?” asked Checker, not sounding very frightened. “It’s fantastic!”
All three of them turned to the glob, changing quickly from a rich yellow to a duller, more smoldering red. As Checker reached toward it, the woman jerked it away.
“Hot glass, toddler. And what have you done to your hand?”
In the beam of the flashlight was a second red glob, on the end of Checker’s arm. There was a quiet, regular patter-patter; the woman trained the light on the ground, where Checker’s blood was spattering onto the chunks of clear glass. The glass sparkled, and the red drops bounced and drizzled over its crystals like expensive rain. Strange. It was beautiful.
“Sheckair!” Quickly Rahim shed his jacket and tore off his shirt, and began to wrap Check’s hand.
“Don’t use your dirty shirt,” she said sharply. “I have medical supplies inside. I suppose you can come in.” She led them reluctantly in the door and smashed the rod against the cement floor. The glass, now black, cracked off; she tossed the rod in a barrel and went to get first aid. “Christ,” Check heard her mutter on the way, “I start to run off hoodlums and end up playing Sara Barton.”
“That’s Clara Barton,” he shouted after her. Unexpectedly, she laughed.
Checker didn’t seem very concerned with his hand, more delighted to have weaseled his way in here. He and Rahim approached the furnace. Inside, the roar was deeper, striking a broader range of tones. Checker couldn’t take his eyes off the fire though at a certain point he stood back from the heat. In fact, the whole room was sweltering, and recalled the febrile interior of Plato’s Bar.
When she returned she switched on a light, to Rahim’s disappointment—it ruined the satanic religiosity of the scene. As she rinsed out Checker’s cut in warm water over her sink, they both stared at the glassblower, not quite as mysterious without the glow of the furnace, but no less intimidating.
Everything about her was long: her neck, her waist, her face. Her cheeks were hollow and drawn; her expressions were conducted in the narrow range between amusement and irritation. As she tended his hand, her face sharpened in an intentness that seemed usual. Her oversized green shirt billowed under her apron with accidental style. Her jeans shone with dirt. The musty smell wafting from them suggested she’d been in these clothes for a while.
“You’re filthy,” Check observed joyously as his blood ran in diluted swirls down the drain.
“You’re stupid,” she shot back. “Why were you and your friend crawling around in a pile of broken glass at four in the morning?”
“Watching you,” said Check. As she went for the antiseptic, he followed her hands. They looked older than the rest of her—fiftyish, sixtyish even—scarred and craggy, with abused nails. Her fingers were long like Caldwell’s, but ancient and knuckly. They tended his cut with care but authority, like a good mechanic’s.
“What are all these little scars?” she asked about his own hand, which was covered in small white lumps.
“From drumming.”
A look. “Violent.”
“Passionate.”
She laughed.
“Why is that funny?”
“Well, how old are you?”
“What does that have to do with passion?”
“Maybe nothing,” she admitted.
Her motions were jagged, like her hair. When she turned to find the gauze, a peak of hair touched his face; Checker reached up as if to brush it away, but really to feel it—a little coarse; he noticed a few strands of gray.
“How old are you?”
“Why?”
“Cause I can usually tell. You, I can’t place within ten years.”
“Twenty-nine.”
“I’d have guessed older.”
“Real diplomatic.”
“You’re not insulted.”
She stopped wrapping his hand and looked at Check as if seeing him for the first time. She seemed surprised by what she saw. “No?”
“It doesn’t matter to you, looking young,” Check explained. “Just now—I think you were flattered.”
The woman sucked in her cheeks and shot him a sour, bemused little smile. “Maybe.”
“You must finish wrap.”
This whole time Rahim had been following the medical process suspiciously, examining the label on the antiseptic; when she stopped working on the bandage Rahim couldn’t contain himself.
“What?”
“Wrap,” said Rahim staunchly.
“You spy on my work and knock over a whole barrel of cullet and I still take you in to patch up your bloody bungling and I don’t do it fast enough. So sorry.”
“’Sokay,” said Rahim, who had no sense of American sarcasm. “Just finish quickly, please. Sheckair vedy tired. I take him home now.”
“Well, I’m a little tired myself,” she said with genuine annoyance. Disappointed, Checker watched her tie up his hand summarily and stand, hands on her hips. She was taller than both of them.
“Come.” Rahim took Checker’s good hand and began to pull him toward the door. The Iraqi had his proprietary side, like a severe, overly protective secretary.
Check dragged. “Can I come back?”
“What for?”
“The glass. I want to watch.”
“You’ve been watching.”
“Tomorrow!” At last Rahim succeeded in hauling Checker out the door, but not before he’d gotten one last glimpse of the glassblower, who was looking at him, he thought, terrifically hard. She had the same drastic features as Caldwell Sweets, and she certainly did look older than twenty-nine, but Checker, who had a lot of experience with looking at people right, knew full well that she was gorgeous.
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Lionel Shriver
Тип: электронная книга
Жанр: Современная зарубежная литература
Язык: на английском языке
Издательство: HarperCollins
Дата публикации: 16.04.2024
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О книге: From the Orange Prize winning author of We Need to Talk About Kevin this is a novel about what it takes to make it in music. How charisma is worth its weight in gold. And how jealously can grow until it has eaten away at a musician’s heart.He has that thing that they’d all pay for but can’t buy: on stage and off, the 19-year-old rock drummer Checker Secretti is electric. When he plays with his band The Derailleurs, the natives of Astoria, Queens clamour for a piece of him. But charisma comes at a price. A Salieri to Checker’s Mozart, the fiercely envious fellow drummer Eaton Striker is eager to sow discord among the Derailleurs, that he might replace the exasperatingly popular goody-goody in the close-knit neighbourhood’s affections.An examination of the passion, the jealousy and the friendship of young musicians trying to break out, Checker and The Derailleurs is also about cycling, rock lyrics, glass blowing, the marriage of convenience, and—most of all—the mystery of joy.