The Fugitives Read online

  Thank you for downloading this Simon & Schuster eBook.

  * * *

  Join our mailing list and get updates on new releases, deals, bonus content and other great books from Simon & Schuster.

  CLICK HERE TO SIGN UP

  or visit us online to sign up at

  eBookNews.SimonandSchuster.com

  For Penelope

  The founders of a new colony, whatever Utopia of human virtue and happiness they might originally project, have invariably recognized it among their earliest practical necessities to allot a portion of the virgin soil as a cemetery, and another portion as the site of a prison.

  —NATHANIEL HAWTHORNE

  . . . there is a time in life when you just take a walk: And you walk in your own landscape.

  —WILLEM DE KOONING

  . . . the pictures we paint we are also being shown.

  —ALEXANDER THEROUX

  For the intense yearning which each of them has toward the other does not appear to be the desire of lover’s intercourse, but of something else which the soul of either evidently desires and cannot tell, and of which she has only a dark and doubtful presentiment.

  —ARISTOPHANES, AS QUOTED IN SYMPOSIUM

  SALTEAU

  THIS is long ago in the history of Anishinabek, the name we call ourselves. You all are familiar with Ojibway, or Chippewa. But like the private name one is called within his family, Anishinabek is the name we use among ourselves. This is long ago, before Cherry City, before any outsiders arrived at all, near to the time when the Original Man was lowered to earth to name everything and begin our history.

  The great trickster Nanabozho always was looking for ways to make fools of humans and beasts, to show how foolish they truly were underneath what they showed to the world. He always was looking, but he never had to look very hard. One day, he was seated at the edge of a village with his friend Elk, watching two old women who lived in wigwams next to each other talking happily as they worked side by side. Elk remarked, “They say those two never fight.” And Nanabozho, who’d been daydreaming about the fishing he would do later after Elk had returned to the woods, suddenly was very alert. “Never?” he asked. “Never,” said Elk. And it was true. The two women had known each other their entire lives, and their like-mindedness was legendary. They’d never argued, never disagreed about anything, and this was unusual, especially for women. Elk continued, “They’ve never fought about men. They’ve never fought about work. They’ve never fought about their children. They’ve never fought over which of them was smarter, or prettier.” Nanabozho shook his head. “That’s very unusual, especially for women,” he said. “Never, you say?” “Never,” said Elk. “I’ll bet I can get them to fight,” said Nanabozho. “I’d like to see you try,” said Elk. So Nanabozho got up and dusted himself off. He told Elk, “I’ll bet you your hat,” and even though it was a brand-new hat that Elk was quite proud of, he agreed. Nanabozho asked to borrow the hat and carried it over to the bushes, where he picked a handful of blueberries, mashed them into a dark blue mess, and then painted one side of the hat a rich, dark blue. Then he went and gathered a handful of strawberries, and mashed them into a bright red mess, and painted the other side of the hat a bright red. “My hat,” complained Elk, “what are you doing?” “Be innocent of the knowledge,” cautioned Nanabozho, “until you applaud the deed.” Then he put the hat on his head and set off through the woods. The two old women had just finished dressing two rabbits and each had gone back to sit outside her wigwam, the game directly between them, lying on a flat stump they used. Nanabozho sneaked through the trees until he was behind the wigwams and then, catching Elk’s eye, put a finger across his lips. Then he ran as fast as he could between the two wigwams, whooping and shouting, and grabbed the two rabbits as he passed. He ran until he got back to where Elk was waiting. “I don’t eat rabbit,” said Elk, who was still annoyed about his hat. “Wait for a little while,” said Nanabozho.

  They didn’t have to wait for very long. The two old women were shrieking and crying about the maniac who’d scared them to death and run screaming into the woods with their game. Soon a group of people from the village had gathered to see what the matter was. “What did he look like?” one man asked. “Oh, he was at least ten feet tall,” said one of the old women. “That’s right,” agreed the other, adding, “and he had huge claws.” “He did,” confirmed the first old woman. “It seems that they’re still quite agreeable,” said Elk, dryly. “Just wait,” said Nanabozho. “And he was covered with hair,” continued the first old woman. “All over his body,” added the second old woman, “except where he was wearing those tooled leather moccasins.” “They were fine moccasins,” said the first old woman, “blue, just like his hat.” “No,” said the second old woman. “His hat was bright red.” “Dear,” said the first old woman, “that hat was most certainly blue.” “Dear, it was red. I saw it with my own eyes.” “Well,” said the first old woman, “those old eyes of yours must be playing tricks on you. It was definitely a blue hat.” “I’ve had sharper eyesight than you ever since we were children,” said the second old woman, peevishly. “Not likely,” snorted the first. “There’s never been anything you’ve been better at than I.” “Oh, my,” said Elk. And, as you can imagine, things went downhill from there. Soon these two old women, inseparable since birth, were at each other’s throat and had to be separated by two strong young men. Even hours later they were still grumbling at each other about the color of that hat, and anything else that they could think of. And Nanabozho didn’t have to say a word to Elk, who knew that, as usual, Nanabozho had had his way with them. And Nanabozho had a wonderful new hat into the bargain.

  PART 1

  CODE SHIFTING

  1

  STORY time is at eleven, the preschoolers and their mothers, mostly the mothers; the occasional father looking faintly uncomfortable with his kid, as if he’d been asked to monitor an unfamiliar piece of equipment; sometimes babysitters, unhurried grandpas, older siblings icy with shame. Tuesday and Thursday mornings they arrive and cluster around the bronze bear, its paws, snout, and ears worn smooth and dull, to listen. Before John Salteau began, a few months ago, to tell stories twice each week at the library (“Tricksters and Sleeping Bears: Native Tales from Northwestern Michigan with John Salteau”), they had a woman whose pedantic cheer fooled none of the kids: sung and shouted drills involving colors, numbers, the names of household objects. She drove up once a week from Frankfort with a steel-string guitar and a cinnamon-colored puppet named Ginger and played to a half-empty room every time. Now she’s gone. Salteau invariably fills the place.

  I began to sit in the library some mornings because I like the stripped tone; the clean isolation of the footfalls and the scraping of chairs against the floor, the stillness in which other people’s most perfectly ingrained habits are encased and displayed. This one wets his index finger. This one moves her lips. Nose pickers and foot tappers. Plus it’s a nice place to come to rest in the middle of my morning circuit, when the work is done or (more likely, these days) stalled and I leave home to walk the arboreal streets (my house is between Oak and Maple; nearby are Cedar, Pine, Locust, Elmwood) or wander onto the nearby grounds of the former lunatic asylum, now a curiously mournful park.

  If I arrive at the library before eleven, I’ll wait. There’s no other feeling like that of the restraint in a quiet room filled with people. Conditional unity, breached under the duress of petty bodily betrayals, farts and sneezes. The heads come up, mildly curious, then fall once more to the printed lines. One time, a middle-aged man, in a suit and tie, sat energetically turning the pages of the Record-Eagle, as if he were scanning it for a particular item: he was gently urged from the premises by a library employ
ee who bent close to whisper to him, laying a quieting finger on the pages of newsprint. The man left, striding through a watchful silence, his newspaper abandoned on the table.

  I haven’t listened to an adult tell stories to an audience of children since I was a child myself, but I’m not surprised to find that I’m calmed and reassured by it, the voice an ember glowing and changing in the midst of a muted stillness that might itself ignite at any moment. The boundaries inherent in performance are there, but there’s also an ambiguity, an offhand sense of collaboration. That regular glimpse of the inventive tension latent in those quiet, crowded spaces, when the voice begins speaking, and especially when it pauses and the room falls into its willed hush once again, is one part of what holds me in my seat in the children’s library (rather, “Youth Services Department”) twice a week. The other part remains a mystery to me.

  DYLAN FECKER TOLD me on the phone, “A kids’ library? What it sounds like to me is that you miss going out. He misses going out.” I’m a writer, and Dylan is my agent. To him, a panicked social life is the sole bellwether of mental health. In confusion he finds relief. Only his phone knows what he’s scheduled to do next. Without it, he might starve, freeze, wander mistakenly onto public transportation.

  “I go out all the time,” I said. “The whole place is mostly out. Here, outside is the default. Indoors is shelter.”

  “When I say ‘going out,’ you know what I mean. And you miss it. Why can’t you just say that? Why can’t he just say what he means for once? Quicker and less confusingly? These are the big questions people want answers to. People are always waiting for him to say what he means, and then he says it, and Monte and I have to clarify.” Monte is my editor.

  “What do you tell them?”

  “That it’s all about getting to the center of the human heart. But you can thank me later. Are you writing? He’s not writing.”

  “I would be.”

  “He’s being smart. Don’t be smart. I’ve tried calling you when you’re really working: you can’t wait to get rid of me. Lately you’re lingering. Lately you want to talk.”

  “Oh, is that what you’re getting?”

  “Don’t be smart, I said. You’re not writing. I admit I made a big mistake letting you move out there all by yourself. I said, he’s a big boy. Was I wrong.”

  “You weren’t wrong. I took my temperature this morning. Totally normal. Sent myself off to school, kicking and screaming.”

  “Ha ha ha. Listen. You went out there, you said you wanted quiet. I say OK, he needs to turn it down for a while. I understand. I saw how the last couple of years were going for you, for you and Rae. And that terrible business with Susannah. Ordinarily, I wouldn’t rush you. But Monte is eager to see pages. They’re tracking you. Where is he with it, is the general tenor of things.”

  Dylan had allowed his sense of romance to persuade him that there was something valuable, even narratively inevitable, in my leaving New York to come to northern Michigan and finish a book. It seemed right to him, right and just, that a gifted person should flee from the distractions and temptations of a big city, flee from the difficulties of a complicated personal life, to make art in self-imposed exile, working from the provinces. If some artists court outrage, others court solitude: it was a chunk of wisdom as simple as a popcorn date at the multiplex. He expected searingly brilliant, expiatory pages to flow one way, direct from my computer to his office on Mercer Street. That was the agreement, as far as he was concerned. That, he claimed, was what had kept him from going to the airport and wrestling me off the plane personally. It wouldn’t have helped at all to explain to him that I didn’t feel purposeful, I felt dangerously adrift; that escape wasn’t a strategic writerly ploy but simply and only escape. For Dylan there was no such thing as flight. He stayed, he survived, he thrived. He’d had some successes; I was one of them; I was letting him down. This much was clear. The fierce pages weren’t erupting from my printer, weren’t springing to life on his 24-inch active matrix display as unencrypted digital attachments. Exile and cunning he would accept, silence was another story.

  “Just get out of the house once in a while. Better yet, come back to Brooklyn and then get in a cab or whatever it is you people have there and come to Manhattan to talk to me in person. I just don’t get what you’re doing.”

  “It’s all about getting to the center of the human heart.”

  “Please. They don’t have what you need to be human out there.”

  “They have enough,” I said. “It feels close.”

  “How close?”

  2

  I RENT a bungalow here in Cherry City that’s much too big for me alone, though it’s a modest house. If my children lived here with me, we’d fill it, but they don’t and I doubt they’ll ever visit. But I hadn’t been thinking about my children, about accommodating my children, when I was looking for a place. It had been a long time since I’d lived in a house, and I had an idea that I’d enjoy the garden, which I watched die in the waning days of summer, after I’d pulled the last of the landlord’s ripe tomatoes from the staked vines in the backyard; that I’d like sitting on the front porch in the evenings, which I did until the weather began to cool. Moving in was like adapting to any other change in one’s material condition. Things I liked, things I didn’t. I didn’t like the feeling of being exposed, and locked the doors and pulled the curtains in the evening. I didn’t like the sounds the house made at night, settling into whatever new shape another day’s use had beaten it into. I did, though, like having a driveway to park in, a kitchen door to tote groceries through. I did like having a washer-dryer. These ordinary things were a quiet rebuke to the proud lunacy of the assumed inconvenience that marked life in Brooklyn. The sound of tumbling laundry, zippers pinging against the steel drum of the dryer, coming to me as I sat not in a molded plastic chair in a drafty laundromat, vigilantly guarding my socks and shorts, but in my own living room, could fool me into believing that this was the solution; that it addressed all my problems in their entirety.

  I ARRIVED HERE after I walked out of my wife’s apartment, the home of my wife and children, with no more than I could easily carry. It was the second time I’d done it. This time it was a mutual decision: You leave now, Rae said, and I did. What about it, about any of it, could possibly have come as a surprise to either of us? While remaining supremely mindful of the consequences, we’d failed spectacularly. There weren’t any protests or reconsiderations.

  Prior to that, during our period of reconciliation, after the disaster of Susannah, Rae and I had been traveling once a week to the Upper West Side to see a counselor, a Dr. Heinz. Because it was the sensible thing, the requisite approach, the one reference to our catastrophe that actually could acceptably be made in public. Unfortunately, Dr. Heinz’s reassuringly Viennese-sounding name was only a front for a tall, athletic-looking fiftyish guy in Birkenstocks, chinos, and open-necked Oxford shirts who spoke in the gently twanging tones of the upper midwest.

  Heinz’s office, which never failed to distract me, was as bland and unassuming as the man himself. He had a large sofa patients were to sit on, and although there was also a green armchair and matching ottoman (which together were much too big for the room), he always faced us in a swivel chair, sitting hunched forward to listen, his elbows resting on his thighs. His posture made me feel as if we’d interrupted him. If Dr. Heinz had rotated his chair 180 degrees, he would have been facing a small desk with a computer on it. A small bookcase held a selection of professional journals. His framed diplomas and certificates hung unobtrusively, in a vertical line, along one margin of the wall in which the windows were set. On the other walls were somewhat gloomy abstract watercolors—paintings that, with their vestiges of figuration, their seeming resistance to the depiction of gesture in their dark brushwork, struck me, for some reason, as “European-looking.” The parquet floor wore a large, rectangular melon-colored chunk of deep-pile carpet. It was the Segal lock on the door, though, that preoccupied
me the most. Was it supposed to keep the contents of the room secure? Or him?

  Dr. Heinz’s prescription involved rigid accounting, argument and rebuttal restricted to narrowly drawn subjects and constrained by inflexible time limitations. He directed us to extend this metered form of interchange beyond his office, urging us to trump spontaneity by actually scheduling these arguments, no less frequently than three times a week, to take place at appointed, mutually convenient times.

  I felt—well, what I said to Rae one afternoon as we walked from his office to the subway was “It would be more constructive if he told us to fuck every other day.” She smiled at me sadly, and took my hand in hers. “You should tell Dr. Heinz that,” she said, in perfect seriousness.

  I nodded: of course we would need his permission. Susannah was supposed to have been my break for the open space beyond the everyday; now I felt—reflexively, and without Heinz ever having suggested such a thing—that I required approval for the smallest and most personal decisions. In the white light of disclosure, I believed that I didn’t care what other people thought. But it had turned out they thought so many things about my affair, about my marriage, about me; and in the end I had cared, and after Susannah and I disintegrated I returned to a marriage that had become public property.

  Despite my doubts about Heinz’s strategy—his demands that we become conditioned to behaving in a way remote from our instincts; that we pretend to be angry when we weren’t, and pretend not to be angry when we were; that we behave with restraint when we wanted to scream, and that we confront each other when all was tranquil—it actually wasn’t a stupid plan. I don’t consider myself a man who yields automatically to convention, but I stop at the crosswalk when the light is red. If there’s any greater exhibit of the malleability of human nature than the sight of someone standing, absently waiting for the light to change at a deserted intersection, I don’t know what it is. Yet that someone never is run over. Heinz made a kind of sense.