Moonglow

He turned his face to the east. Darkness piled up like a thunderhead over New Jersey. Beyond the river lay Camden, beyond Camden the Jersey Shore, beyond the shore the Atlantic Ocean, and beyond that, Paris, France. His mother’s brother, a veteran of the Argonne, had informed my grandfather that in the “cathouses” of that city a man might cross one further border, where silk stocking met white thigh. My grandfather took the signal lantern in his arms. He pressed his hips against its smooth encasement and looked up at the evening sky. A full moon rose, tinted by its angle on earth’s atmosphere to a color like the flesh of a peach. My grandfather had spent most of that last Friday of the summer reading a copy of Astounding Stories of Super-Science, found among some other unsold magazines in the back room of his father’s store. The last story was about a daring earthman who flew in an atomic rocket to the Moon’s dark side, where he found ample air and water, fought bloodthirsty selenites, and fell in love with a pale and willing lunar princess. The Moon was a tough neighborhood, and the princess required frequent salvation by the earthman.

My grandfather regarded the Moon. He thought about the noble girl in the story with her “graceful, undulating body” and felt the swell of an inner tide reaching toward her, lifting him like Enoch in the whirlwind into the sky. He ascended the skyward tide of his longing. He would be there for her. He was coming to her rescue.

A door banged shut, and Creasey came out of the little house and rejoined his evening route. He was no longer carrying the knapsack. He crossed a set of tracks, a hitch of stiffness in his walk, and vanished among the cars.

My grandfather climbed down from the signal bridge. His path home did not run past the little house. But old Abraham had ruled correctly from his corner of the parlor: Nothing could be done for a boy who would throw a kitten out of a window onto a Philadelphia pavement just to see what would happen if he did.

My grandfather approached the little house with its gridded black windows. For a full minute he stood and watched it. He put his ear to the door. Over the electrical hum, he heard a human sound: choking, or laughter, or sobs.

He knocked. The sound broke off. The house’s mysterious clockwork clicked. From the marshaling yard came the trumpeting of lashed-up engines, ready to drag a long load west. He knocked again.

“Who’s there?”

My grandfather gave his first and last name. On reflection he appended his address. There followed a prolonged spell of unmistakable coughing from the other side of the door. When it passed, he heard a stirring, the creak of a bed or chair.

A girl peered out, hiding the right half of her face behind the door that she gripped with both hands, looking ready to slam it shut. The visible half of her head was a mat of peroxide tangles. Around the left eye, under a delicate eyebrow, paint mingled with mascara in cakes and blotches. She wore the fingernails on her left hand long, lacquered in black cherry. The nails on her right hand were bitten and bare of paint. She was wrapped loosely in a man’s tartan bathrobe. If she was surprised to see him, she did not show it. If she had been crying, she was not crying anymore. But my grandfather understood Creasey the way you come to understand a man who repeatedly kicks your ass. The details of the hurt that Creasey might have done to this girl during his visit remained obscure, but my grandfather felt the outrage all the more vividly for his ignorance. He saw it in the ruin of her eye paint. He smelled it, a taint of Javela water and armpit in the air that leaked from behind the half-open door.

“Well?” she said. “State your business, Shunk Street.”

“I saw him come in there,” my grandfather said. “That Creasey bastard.”

It was a word not to be used in the hearing of adults, especially women, but in this instance it felt fitting. The girl’s face came out from behind the door like the moon from behind a factory wall. She took a better look at him.

“He is a bastard,” she said. “You’re right about that.”

He saw that the hair on the right side of her part was cropped as short as his own, as though to rid that half of lice. On the right side of her upper lip she had raised enough whisker to form the handlebar of a mustache. Her right eye was free of paint, under a dense black brow. Apart from a shadow of stubble universal on either side of the chin, an invisible rule appeared to have apportioned evenly the male and female of her nature. My grandfather had heard but disbelieved neighborhood reports of sideshow hermaphrodites, cat girls, ape girls, four-legged women who must be mounted like tables. He might have reconsidered his doubt if not for the fact that he saw, filling both sides of the loose flannel wrapper from the neck down, only womanly curvature and shadow.

“The price of a peep is one nickel, Shunk Street,” she said. “I believe you may owe me a dime.”

My grandfather looked down at his shoes. They were not much to look at. “Come on,” he said, reaching for her arm. Even through the flannel of her sleeve, he could feel fever on her skin.

She shook loose of his grip with a jerk of her arm.

“He won’t come back this way for a while. But we have to go now,” my grandfather said. There were whiskers on the chins of his own aunts: big deal. He was here by the power of a wish on an evening star. “Come on!”

“Aren’t you funny,” she said. She peeked out of the doorway, looked to either side. She lowered her voice in a show of co-conspiracy. “Trying to rescue me.”

From her lips it sounded like the most peabrained idea ever conceived. She left the door hanging open and went back inside. She sat down on a cot and pulled a stiff blanket around her. In the light of a candle guttering on an overturned jar lid, panels of black switches and gauges glinted. Creasey’s knapsack lay neglected on the floor.

“Are you going to take me home to your mama and papa?” she suggested in a voice that made him momentarily dislike her. “A drug-sick whore full of TB?”

“I can take you to a hospital.”

“Aren’t you funny,” she said, more tenderly this time. “You already know I can unlock the door from the inside, honey. I’m not a prisoner here.”

My grandfather felt there was more to her imprisonment than a lock and key, but he did not know how to put that feeling into words. She reached into the knapsack and pulled out a package of Old Golds. Something about the pomp with which she set fire to her cigarette made her seem younger than he had thought.

“Your pal Creasey already rescued me,” she said. “He could have left me lying there right where he found me, half dead with my face in a pile of cinders. Right where those Ealing boys red-lighted me.”

She told him that from the age of eleven she had been traveling in the sideshow of the Entwhistle–Ealing Bros. Circus, out of Peru, Indiana. She had been born a girl, in Ocala, Florida, but at puberty, nature had refashioned her with a mustache and chin fuzz.

“I went over big for quite a little while, but lately, I’m getting all this action from my girl department.” She folded her arms under her breasts. “Body’s been goofing with me all my life.”

My grandfather wanted to say that he felt the same way about his brain, that organ whose flights of preposterous idealism were matched only by its reveries of unfettered violence. But he thought it would be wrong to compare his troubles to hers.

“I guess that’s the reason I started on the junk,” she said. “A hermaphrodite was something. It has a little poetry. There is just no poetry in a bearded lady.”

She had been nodding, she said, dead to the world, when management at last saw fit to throw her off the circus train as it pulled out of the yard, bound for Altoona.

“Creasey found my valise where those assholes had pitched it. Conveyed me to these comfortable lodgings.” She adjusted her legs and, before she gathered the blanket more tightly, caught my grandfather trying to see into the shadow between them. “Creasey is a bastard, true. But he brings me food, and smokes, and magazines. And candles to read by. The only thing he won’t bring me is a fix. Pretty soon it’ll be all the same to me, anyway. Meantime he doesn’t charge me more rent than I’m willing to pay.”

My grandfather contemplated the ashes of his plan. He felt she was telling him she was going to die, and that she planned on doing it here, in this room that jumped in the candlelight. Her chest blood was all over a crumpled chamois rag, and on the woolen blanket, and on the lapels of the robe.

“Creasey has his points,” she said. “And I’m sure the folks on Shunk Street would be happy to know that he has been kind enough to leave me in possession of my virginity. In the technical sense.” She squirmed against the cot illustratively. “Railroad men. They are practical fellows. Always find a way around.”

That started her barking into her scrap of chamois, which bloodied it some more. The violence of her coughing shook the blanket loose, baring her legs to my grandfather’s inspection. My grandfather felt very sorry for her, but he could not keep his gaze away from the inner darkness of her robe. The spasm passed. She folded the bloodstained part of the chamois into the remnant that was still clean.

“Have a look, Shunk Street,” she said. She hoisted the hem of the tartan robe, opened her legs, and spread them wide. The pale band of belly, the shock of dark fur, the pink of her labia would endure in his memory, flying like a flag, until he died. “On the house.”

He could feel the turmoil in his cheeks, throat, rib cage, loins. He could see that she saw it and was enjoying it. She closed her eyes and raised her hips a little higher. “Go ahead, sweetheart. Touch it if you want to.”

My grandfather found that his lips and tongue could not form a reply. He went over and put his hand against the patch of hair between her legs. He held it there, sampling it with rigid fingers like he was taking a temperature or pulse. The night, the summer, all time and history came to a halt.

Her eyes snapped open. She lurched forward and shoved him aside, covering her mouth with the bare hand while the painted one groped for the chamois. My grandfather took a crisp white handkerchief from the back pocket of his cutoff corduroys. He presented her with this evidence of the hopefulness invested in him by his mother, every morning afresh, when she sent him out into the world. The girl crushed the handkerchief in her fist without seeming to notice it was there. My grandfather watched her body tear itself apart from the inside for what felt like a long time. He worried she might be about to die right then, in front of him. Presently, she sighed and fell backward against the cot. Her forehead shone in the light from her stub of candle. She breathed with caution. Her eyes were half open and fixed on my grandfather, but minutes went by before she took notice of him again.

“Go home,” she said.

He eased the day’s inviolate handkerchief from her fist. Like a road map he unfolded it and laid it against her brow. He sealed up the flaps of her robe around her and dragged the awful blanket up to her chin with its babyish dimple. Then he went to the door, where he stopped, looking back at her. The heat of her clung like an odor to his fingertips.

“Come back sometime, Shunk Street,” she said. “Maybe I’ll let you rescue me yet.”

When my grandfather finally made it home well after dark, there was a patrolman in the kitchen. My grandfather confessed to nothing and provided no information. My great-grandfather, egged on by the patrolman, gave my grandfather a slap across the face to see how he liked it. My grandfather said he liked it fine. He felt he had earned a measure of pain through his failure to rescue the girl. He considered informing the patrolman about her, but she was by her own admission a drug fiend and a whore, and he would rather die than rat her out. Whichever course he chose, he felt, he would betray her. So he answered to his nature and said nothing.

The patrolman returned to his beat. My grandfather was subjected to lectures, threats, accusations. He bore up under them with his usual stoicism, was sent to bed hungry, and kept the secret of the two-sided girl in the train yard for the next sixty years. The following day he was put to work in the store, working before and after school on weekdays and all day Sunday. He was not able to make it back to Greenwich Yard until late the following Saturday afternoon, after shul. It was getting dark, and the weather had turned wet the night before. Along the tracks the reflected sky lay pooled between the wooden ties like pans of quicksilver. He knocked on the door of the little house until his hand rang with the pain of knocking.

3

I came into my patrimony of secrets in the late 1960s, in Flushing, Queens. At the time my grandparents were still living in the Bronx, and generally, if my parents needed to be free of me for more than a few hours, I would be deposited in Riverdale. Like the space program, my grandfather’s business was then at its peak, and though later he became a strong presence in my life, in those days my clearest memory of him is that he was seldom around.

My grandparents and their Martian zoo of Danish furniture shared seven rooms in the Skyview, overlooking the Hudson. They lived on the thirteenth floor, though it was styled the fourteenth because, my grandfather explained, the world was full of dummies who believed in lucky charms. It was bad luck, my grandfather said, to be a dummy. My grandmother also scoffed. Though she personally had no particular fear of the number thirteen, she knew that bad luck could never be fooled by such a simple-minded stratagem.

Left to ourselves my grandmother and I might go to see a movie, one of the interminable candy-colored epics of the day: Doctor Doolittle, The Gnome-Mobile, Chitty Chitty Bang Bang. She liked to shop every morning for that evening’s dinner; consequently, we spent a lot of time in grocery stores, where she taught me to look for tomatoes that still had a smell of hot sun in their stems, and then in her kitchen, where she taught me the rudiments and entrusted me with knives. If I have inherited it from her, then she must have found a mindful mindlessness in the routines and procedures of the kitchen. It tired her to read aloud in English, but she had a lot of French poems by heart and sometimes recited them to me in the ghostly language of her loss; I formed the impression that French poetry trafficked mainly in wistful rain and violins. She taught me colors, numbers, the names of animals: Ours. Chat. Cochon.

There were days, however, when being left with my grandmother was not very different from being left alone. She lay on the sofa or on her bed with the curtains drawn and a cool cloth folded over her eyes. These days had their own lexicon: cafard, algie, crise de foie. In 1966 (the date of my earliest memories of her) she was only forty-three, but the war, she said, had ruined her stomach, her sinuses, the joints of her bones (she never said anything about what the war might have done to her mind). If she had promised to look after me on one of her bad days, she would rally long enough to persuade my parents, or herself, that she was up to the task. But then it—something—would come over her and we would leave the movie theater halfway through the show, conclude the recital after a single poem, walk out of the supermarket abandoning an entire cart of groceries in the middle of the aisle. I don’t think I really minded, exactly. When she took to her bed—and only then—I was allowed to watch television. Once she was down for the count, my only responsibility would be from time to time to run a little cool water on the washcloth, wring it out, and drape it over her face like a flag on a coffin.

Outside of the kitchen my grandmother’s favorite pastime was cards. She detested the games Americans considered suitable for children: war, concentration, go fish. She found gin rummy dull and interminable. The card games of her own childhood were all trick-taking games that rewarded acuity and deception. When I was old enough to add and subtract in my head—around the time I learned to read—she taught me how to play piquet. It was not long before I could nearly hold my own against her, though when I was older my grandfather told me that she was always careful to make mistakes.

Piquet is played with a shortened deck of thirty-two cards, and before we could begin, my grandmother would strip a pack of Bicycles or Bees of all the cards from deuce to six. This was an operation she performed with a certain heedlessness. When someone came home after a long day at the office, say, hoping to relax with a few hands of solitaire, and went to the drawer in the cabinet where games were kept, he was likely to find half a dozen plundered decks awash in an indiscriminate surf of pip cards. Those were the only occasions when I ever saw my grandfather openly express irritation with my grandmother, whom he otherwise coddled and indulged.

“It drove me nuts,” he remembered. “I used to say, ‘One deck! Is that too much to ask? Could there be one goddamn deck that isn’t ruined?’” He made a duck’s bill of his lips, narrowed his eyes, hoisted his shoulders. “‘Boh.’” I remembered this echt-gallicism of my grandmother’s. “She wasn’t ruining the deck, if you please, she was correcting it.” He put on the Texan-in-Paris accent he used whenever he spoke French. “See-non, come-awn fair une pe-teet par-tee?”

One afternoon when my grandmother sent me to get a deck so we could make a few parties, I discovered that since my last visit the drawer had been cleaned out and restocked with several new packs of poker decks, sealed and in their wrappers. It would be a worse outrage to my grandfather than usual, it seemed to me, to “ruin” one of these brand-new packs.

I opened some other drawers and poked around among the Yahtzee and Rack-O and Monopoly boxes, looking for any of the decks that my grandmother had previously stripped. Inside a tin that once held Barton’s almond kisses I found a deck of cards in a curiously drab box, pale blue printed with some words, which I took to be French, in a medieval-looking typeface like the one across the banner of The New York Times. It was thinner than an American deck, as if it contained fewer cards. Assuming that I had managed to locate an actual French piquet deck, I carried it into the kitchen, where my grandmother and I usually played.

I thought she would be pleased to see that I had found a way to keep my grandfather happy. Instead she looked alarmed. She was in the act of lighting one of the Wintermans cigarillos that she smoked only while playing cards, but she stopped with the match halfway to her mouth. My mother used to complain bitterly about the stink of my grandmother’s cigars in my hair and on my clothing when I was returned after a visit, but I thought they smelled wonderful.

She took the unlit cigarillo from her lips and returned it to its little tin. She held out her hand, palm up. I surrendered the pale blue box. She opened its flap, tipped out the cards, and set it down on the table by the ashtray. She held up the deck and fanned it so she could see the faces. I saw only the backs, midnight blue patterned with crescent moons.

She asked where I had found the cards. I told her, and she nodded. She remembered having hidden them there long ago. She explained that she’d had to hide them because they were magical cards, and my grandfather did not believe in magic. I must not tell him about the cards, she said; it would annoy him and he would throw them away. I agreed to keep the cards a secret and asked my grandmother if she believed in magic. She said she did not but that, surprisingly, magic worked even if you did not believe in it. She seemed to have entirely recovered from her alarm at the thought that my discovery might be discovered.

She held up the blue box and told me that the words printed there were German, not French, and that, translated, they read FORTUNE-TELLING CARDS FOR WITCHES.

I asked my grandmother if she was a witch. I had the odd sensation that it was a question I had been holding at the back of my tongue for a long time.

She looked at me and reached for the cigarillo she had put aside. She lit it, shook out the match. She shuffled the cards a few times with her long pale fingers. She set the deck on the table between us.

In putting down these very early memories of my grandmother, I have so far avoided quoting her directly. To claim or represent that I retain an exact or even approximate recollection of what anyone said so long ago would be to commit the memoirist’s great sin. But I have not forgotten my grandmother’s two-word reply when I asked if the reason she owned a secret deck of magical fortune-telling cards for witches was that she was herself a witch:

“Not anymore.”

I asked if this meant that she was no longer able or didn’t remember how to tell fortunes. It was probably a little of both, she said. She would, however, be happy to show me how her magical deck of cards could be used to tell a story. All I had to do—she demonstrated as she explained—was cut the cards, cut them again, and then choose three from the top of the deck.

I have never had success in tracking down or identifying my grandmother’s particular deck, the “Fortune-telling Cards for Witches,” or “The Witch’s Fortune-telling Cards,” or however the name was translated. It may be that things I heard afterward about my grandmother’s brief television career as a witch corrupted my recollection of the deck’s name—maybe they were called “Cards of a Gypsy Fortune-teller,” or “The Sibyl’s Fortune-telling Cards.” But I remember enough about the cards to conclude that it must have been a German variant on the standard “Lenormand” deck.

The first time I saw a classic Mexican Lotería deck with its iconic imagery (El Sol, El Arbol, La Luna), after moving to Southern California in the mid-’80s, I recognized its kinship to my grandmother’s. Her deck had a card called the Ship that showed an old-fashioned argosy under full sail beneath a sky filled with stars. The House was white stucco with a red tile roof and a pretty green garden. The Rider in his red tailcoat rode a prancing white horse through yellow and green woods. The Child in its neutering nightdress clutched a doll and looked afraid. As on the faces of most Lenormand decks, a small oblong panel, inset at the top of each card above the Scythe or the Birds or the Bouquet, depicted a pip or court card with the German suits of hearts, leaves, acorns, and bells.*

I don’t remember the first story she told me with her fortune-telling deck, or which set of three cards she drew it from. But after that first time, “playing with the story cards” became an occasional feature of our time together. There was no way to predict when the urge would come over her, though it came over her only when we were alone. In my memory of those occasions the day outside the windows of the apartment would be gray, cold, and wet; the weather may have played a part in putting her in the mood. Anyone who has spent time in the company of small children knows that a crushing boredom can unlock great powers of invention. My grandmother would be drifting gray and unfocused through an October afternoon, unsettled in the kitchen, wearying of my prattle. And then the cards would come out of their hiding place in the empty can of almond kisses, and she would say: “Do you want me to tell you a story?”

At this point I always faced a dilemma. I liked the way my grandmother told a story, but the characters who emerged from her witch’s deck unsettled and frightened me, and the fates that befell them were dark. From the three cards I turned faceup on the kitchen table my grandmother’s imagination would wind a cryptic path to the narrative she unfolded. The Lilies, the Ring, and the Birds, say, would not necessarily produce a story that had anything to do with either lilies, rings, or birds, and if it did, then it would reveal something terrible about them, some latent capability for malice or liability to perdition.