Continental Drift

  CONTINENTAL

  DRIFT

  Russell Banks

  for Kathy

  Yun seul dwèt pas capab’ mangé gombo.

  Contents

  Cover

  Title Page

  Dedication

  Invocation

  Pissed

  Battérie Maçonnique

  Making a Killing

  À Table, Dabord, Olande, Adonai

  A Man’s Man

  Grand Chemin

  Selling Out

  Action de Grâce

  At Sea

  Gan Malice O!

  Feeding the Loas

  Envoi

  P.S. Insights, Interviews & More …

  Books by Russell Banks

  Praise for Continental Drift

  Copyright

  About the Publisher

  I am free. High above the mast the moon

  Rides clear of her mind and the waves make a refrain

  Of this: that the snake has shed its skin upon

  The floor. Go on through the darkness. The waves fly back.

  —Wallace Stevens, Farewell to Florida

  Harper’s Creek and roarin’ ribber,

  Thar, my dear, we’ll live forebber;

  Den we’ll go de Ingin nation,

  All I want in dis creation Is pretty little wife and big plantation.

  —Northrup, Twelve Years a Slave

  Invocation

  It’s not memory you need for telling this story, the sad story of Robert Raymond Dubois, the story that ends along the back streets and alleys of Miami, Florida, on a February morning in 1981, that begins way to the north in Catamount, New Hampshire, on a cold, snow-flecked afternoon in December 1979, the story that tells what happened to young Bob Dubois in the months between the wintry afternoon in New Hampshire and the dark, wet morning in Florida and tells what happened to the several people who loved him and to some Haitian people and a Jamaican and to Bob’s older brother Eddie Dubois who loved him but thought he did not and to Bob’s best friend Avery Boone who did not love him but thought he did and to the women who were loved by Bob Dubois nearly as much as and differently from the way that he loved his wife Elaine. It’s not memory you need, it’s clear-eyed pity and hot, old-time anger and a Northern man’s love of the sun, it’s a white Christian man’s entiwned obsession with race and sex and a proper middle-class American’s shame for his nation’s history. This is an American story of the late twentieth century, and you don’t need a muse to tell it, you need something more like a loa, or mouth-man, a voice that makes speech stand in front of you and not behind, for there’s nothing here that depends on memory for the telling. With a story like this, you want an accounting to occur, not a recounting, and a presentation, not a representation, which is why it’s told the way it’s told. And though you, too, may see it with your own eyes and hear it with your own ears—as if you, the teller of the tale, sat in the circle of listeners, attentive, hoping to be amused, amazed and moved yourself—you still must see it with eyes not your own and must tell it with a mouth not your own. Let Legba come forward, then, come forward and bring this middle-aging, white mouth-man into speech again. Come down along the Grand Chemin, the sun-path, all filled with pity and hardened with anger to a shine. Come forward, Papa, come to the Crossroads. Come forward, Old Bones, full of wonder for the triple mystery of men and women clamped to one another, of blackness and of the unexpected arrival of gods from Guinea. And come forward eager to cast shame all about. Give body and entitledness and boldness to this white mouth-man’s pity and anger by covering his shoulders with a proper cloak of shame, and give him pure, physical pleasure under the slow, close sun among people and gods whose evident difference from him and from his one big God brings him forward too, finally, unto himself and unto everyone present as well. And let this man tell what the good American man Bob Dubois did that was so bad in the eyes of God and les Mystères and in the eyes of the mouth-man himself that Bob Dubois got left lost to his wife Elaine, who had loved him for a long, long time, and his son and two daughters and his friend Avery Boone and the women Bob Dubois had made love to and the men and women who had lived and worked with Bob Dubois in Catamount, New Hampshire, and in Oleander Park, Florida, and on fishing boats out of Moray Key. Again, Legba, come forward! Let this man speak that man to life.

  Pissed

  1

  It’s December 21, 1979, a Friday, in Catamount, New Hampshire. It’s late in the day, windless and cold, bits of snow dropping from a dark, low sky. At this latitude at this time of year, the sun sets at three forty-five, and Catamount, a river town laid north and south between a pair of glacial moraines, settles quickly without twilight into darkness. Light simply gets replaced by cold, and the rest remains the same.

  A half foot of old crusty snow has covered the ground since the first week of the month, followed by days and nights of dry cold, so that the snow has merely aged, turning slowly gray in yards and on rooftops and in heaps alongside the streets, pitted and spotted along sidewalks and pathways by dogs and mottled everywhere with candy wrappers, beer cans and crumpled cigarette packs. The parking lots and sidewalks, plowed and salted weeks ago, are the color of ash, so that new snow gently falling comes as a cleansing fresh coat of paint, a whitewash that hides the old, stained and tainted world underneath.

  Robert Raymond Dubois (pronounced locally as “Doo-boys”), an oil burner repairman for the Abenaki Oil Company, walks slowly from the squat, dark brick garage where he has parked the company truck, walks hunched over with careful effort, like a man in a blizzard, though snow is falling lightly and there is no wind. He wears a dark blue trooper coat with a fur collar, and a black watchcap. In one hand he carries a black lunchbox, in the other an envelope containing his weekly paycheck, one hundred thirty-seven dollars and forty-four cents.

  Dubois thinks, A man reaches thirty, and he works at a trade for eight years for the same company, even goes to oil burner school nights for a year, and he stays honest, he doesn’t sneak copper tubing or tools into his car at night, he doesn’t put in for time he didn’t work, he doesn’t drink on the job—a man does his work, does it for eight long years, and for that he gets to take home to his wife and two kids a weekly paycheck for one hundred thirty-seven dollars and forty-four cents. Dirt money. Chump change. Money gone before it’s got. No money at all. Bob does not think it, but he knows that soon the man stops smiling so easily, and when he does smile, it’s close to a sneer. And what he once was grateful for, a job, a wife, kids, a house, he comes to regard as a burden, a weight that pulls his chin slowly to his chest, and because he was grateful once, he feels foolish now, cheated somehow by himself.

  Dubois parks his car on Depot Street facing downhill toward the river and tight to the tailgate of a salt-covered pickup truck. It’s snowing harder now, steadily and in large, soft flakes, and the street is slick and white. Black footprints follow him across the street to a brick building where there are apartments in the upper two stories and a used clothing store, a paint store and a bar at street level, and he enters the bar, Irwin’s Restaurant and Lounge. The restaurant is in front, a long, narrow room the size of a railroad car, filled with bright green plastic-covered booths and Formica-topped tables. The room is brightly lit and deserted, but in back, through an archway, the bar is dark and crowded.

  The bartender, a muscular woman in her mid-fifties with a beerbarrel body and a large, hard, lipsticked mouth and a mass of bleached blond hair arranged carefully to resemble a five-and-dime wig, greets Dubois and shoves an opened bottle of Schlitz across the wet bar to him. Her name, unbelievably, is Pearl, and she is Irwin’s help. In a year Irwin will die of a heart attack and Pearl will buy out his estate and will finally own the business sh
e has run for decades.

  These northern New England milltown bars are like Irish pubs. In a community closed in by weather and geography, where the men work at jobs and the women work at home and raise children and there’s never enough money, the men and the women tend to feel angry toward one another much of the time, especially in the evenings when the work is done and the children are sleeping and nothing seems improved over yesterday. It’s an unhappy solution to the problem, that men and women should take pleasure in the absence of their mates, but here it’s a necessary one, for otherwise they would beat and maim and kill one another even more than they do.

  Dubois is sitting at a small table in a shadowed corner of the bar, talking slowly in a low voice to a woman in her mid-thirties. Her name is Doris Cleeve. Twice divorced from brutal young men by the time she was twenty-eight, Doris has nursed her hurt ever since with alcohol and the company of men married to someone else. She is confused about where to go, what to do with her life now, and as a result, she plays her earlier life, her marriages and divorces, over and over again. As in certain country and western records on the jukebox by the door, Doris’s past never fails to move her.

  Except for her slightly underslung jaw, which makes her seem pugnacious, she’s a pretty woman and not at all pugnacious. She wears her ash blond hair short, stylish for Catamount, and dresses in ski sweaters and slacks, as if she thinks she is petite, though in fact she is merely short. In the last few years she has put on weight, mainly because of her drinking, but she hasn’t admitted it to herself yet and probably won’t, until she discovers one morning after she turns forty that she is a fat woman, as fat as the rest of the women she works with down at the cannery. She has slender wrists, though, and small, delicate hands, which is why she still thinks of herself as petite, and having just lit her cigarette (actually, Bob lit it for her, with a flourish of his butane lighter), she jiggles and admires her bracelets while he goes on talking.

  Bob Dubois in most ways is an ordinary-looking young man. You’d pass him in the Sears tool or sporting goods department without a thought, a tall, bulky workingman in good physical shape. Stiff, short, light brown hair that resists combing, square features, pale blue eyes, small ears and, because of his size and build, a surprisingly delicate mouth—Bob’s face is an easy face to ignore, so long as he is ignoring yours.

  But if he’s not ignoring yours, if he’s slightly curious about you or attracted, sexually or otherwise, or threatened, his broad face changes and becomes extremely expressive. Bob’s face is like an intelligent dog’s, unable to hide or effectively disguise his emotions, and it’s forced him into being fairly honest. He’s learned to disguise his thoughts, of course, his strategies, plans and fantasies, but not his feelings. He doesn’t know this, however, because whenever he looks at himself in a mirror, he seems to have no feelings whatsoever. He wonders what he really looks like. Photographs can’t tell him—he looks into a camera lens the same way he looks into a mirror, as if he were an actor portraying a corpse. If he truly were an actor and could portray a living man, then perhaps he would know what he looks like.

  When he’s not trying to act, when he’s himself, he has a curious, good-humored, friendly face, or else he shows you a closed, hard, angry face. One or the other, with not much in between. Because this shift from open to closed, from good-humored to angry, from kindly to cruel, is abrupt and is wholly unchecked along the way by degrees of coldness, anger, and so on, the extremes seem extreme indeed, opposites, even though, as Bob himself feels and understands it, the shift from his being a happy man to an unhappy man is one of only slight degree.

  It’s the same regarding his intelligence—that is, how it appears, how it feels to him and how he understands it. One moment he looks positively brilliant and feels it and believes it; the next moment he looks downright stupid, and he feels and believes he is stupid. The shift: from one to the other, however, seems to him only a matter of degree—mere inches.

  “My wife doesn’t understand me,” he says to Doris Cleeve.

  “You probably don’t understand her, either.”

  Bob smiles and lights a cigarette. “I don’t make enough money.” To her, as he says this, Bob looks good-humored, friendly and smart. Better than anyone else in this place, who is in a bad mood, unfriendly, stupid or all three. Also, he’s handsome, in a way.

  “So? Tell me who does. Especially at Christmas. You wanna hear my problems?”

  She has large, healthy teeth. A fleck of tobacco from her unfiltered cigarette clings to a front tooth, and for an instant Bob wants to lick it off. “I don’t get enough sex,” he says.

  She laughs out loud and looks down at her drink, gin and tonic. As if satisfied, Bob peers across the smoky, crowded room and smiles at no one in particular. Someone has played the Johnny Paycheck song, “Take This Job and Shove It,” on the jukebox, and at the chorus a half-dozen customers join in, singing loudly, happily along, slapping backs and grinning at one another.

  It’s dark outside. Gigantic red and green electric candy canes and wreaths dangle from lampposts while shoppers hurry anxiously along the sidewalks from store to store. The snow is falling heavily in fat flakes that turn almost at once to gray slush beneath the boots of the Christmas shoppers and under the tires of the cars.

  Bob Dubois stands stiffly at the pay phone in the hallway that leads back from the bar to the rest rooms. A burly, unshaven man in a checkered wool shirt and overalls squeezes past, touches him on the shoulder and says Bob’s name, then hitches his pants and returns to the bar, as Bob goes on talking into the telephone.

  “Yeah, I already been to the bank and cashed it. Listen, I’ll … I’ll get home in a couple hours or so; it’s the only chance I got to shop…. I know, I know—white. White figure skates, size four. I’ll try Sears first. I know it’s late, I just haven’t had a chance, you know that…. I dunno, a couple hours, maybe…. I’ll get something to eat down here. Okay? Okay….”

  He hangs up and moves slowly down the hall to the men’s room, where there is a small spotted mirror over the sink, into which he will gaze for a few seconds, wondering what he looks like, wondering if his lies show, or his fears, or his confusion. Giving up, he will try to comb his stiff hair, posing once or twice as the man he saw last night on television in a Christmas perfume ad, tuxedoed, dark hair graying at the temples, parking his Lancia on a moonlit street in Aix-en-Provence, leaning down to kiss the long neck of a lovely, smiling blond woman in an evening gown, whispering a compliment into her pink, perfectly shaped ear.

  On the floor above the bar there are three apartments, two studio apartments facing Depot Street and a larger unit at the rear facing an alley, and on the floor above that three more. In the tiny kitchen of one of the studios on the top floor, Doris Cleeve, having served Bob Dubois a Schlitz, is fixing herself another gin and tonic.

  “How many times you been here now, Bob? A dozen? How come I always hafta tell you to make yourself comfortable before you make yourself comfortable? Tell me that.”

  Bob draws the curtains over the pair of windows that face the street, and as they close, catches a glimpse of his car below, the roof and hood white with snow. “C’mon, Doris,” he says. “You know how I feel about this.”

  “About me?” she asks. “You mean how you feel about me?” She sits down at the table facing him. He is standing in front of one of the windows and next to an upholstered platform rocker.

  “Well … yeah. I guess so. But I meant about being here, like this.” He looks stupid again, and he knows it. Holding his beer in one hand, he tries knocking a cigarette free of the pack with the other and dumps a half-dozen cigarettes onto the floor. “Look,” he says, kneeling to retrieve the cigarettes, “I love my wife. I really do.”

  “Sure you do, Bob. Sure you do.”

  He sits down in the rocker, sets the can of beer on the maple step table next to it and lights a cigarette. “Well … I do.” He turns the can slowly with his thumb and forefinger, leaving wet,
spiraling rings on the tabletop. “You and me, Doris, that’s different. That’s friendship. Know what I mean?”

  The woman is silent for a few seconds. “Yeah. I know what you mean.” And she does know, because at this moment their thoughts, though they cannot be uttered, are essentially the same. Both Bob and Doris are struck, amazed, even, that such a simple event as a man and a woman in a room together can turn out to be so complicated that neither is able to say why he or she is there. They have been in this room together enough times to know that it’s not because they are friends, for their friendship is not the sort that demands privacy in order to thrive. And it’s not because they are in love with each other, for Doris still loves her second husband, Lloyd Cleeve, who broke her nose and three ribs one night and on another gave her a concussion and on five or six more bruised her face, until finally she left him and he moved down to Lowell, Massachusetts, and started in on another woman. And Bob still loves his wife Elaine, who nags a little but is kind to him in all the important ways and most of the unimportant ways as well, who does understand him. And though Doris is more able than Bob to separate sexual pleasure from the pleasure of being loved by someone, neither of them has come to this room to satisfy his or her sexual needs. Elaine Dubois, after seven years of marriage, is still attractive to her husband, and she thoroughly enjoys making love with him and does so frequently and with great, uninhibited enthusiasm, which enthusiasm happens to operate on Bob as a powerful sexual stimulant, arousing him to levels of endurance and spontaneity he’s never reached with other women. And Doris, who, as mentioned, is more able than Bob to separate sexual pleasure from the pleasure of being loved, perhaps because she is thirty-five years old and has been living alone since she was twenty-eight, frequently visits and is visited by a tireless nineteen-year-old plumber’s apprentice with a scraggly blond beard and shoulder-length hair, a hard-muscled, dope-smoking kid named Rufus, called Roof, who rents the studio directly beneath hers. He usually shows up at her door, barefoot, in tee shirt and jeans, late at night when she can’t sleep and has been pacing the floor. They smoke a joint together, and then he goes to work on her, until, hours later, exhausted, she falls asleep against his hairless chest, and when she wakes in the morning, he is gone.