55

The pilot said, Ladies and Gentlemen, Boys and Girls—the voice of our father, a CHARACTER—he said it is DOWNHILL all the way to Sydney I asked my brother what would now be the fate of his ART he said it was lost forever, property of a Japanese he hoped the bastard died. When we were airborne he drank many small bottles of red wine and would not stop until the PRISSY BASTARD would no longer CATCH HIS EYE.

Very long night bouncing above the earth.

Then followed a ROUGH PATCH at various addresses in Sydney—Tempe, Marrickville, St. Peter's. Butcher was completely GUTTED, his life-work stolen by the PLAINTIFF and the JAPANESE.

I HAVE SEEN ALL THE DEEDS THAT ARE DONE

HERE UNDER THE SUN; THEY ARE ALL EMPTINESS AND CHASING THE WIND. He never knew what he was painting.

For a month or two he MADE ART but then he heard on Sydney radio 2UE that the Plaintiff and Jean-Paul had sold all their holdings of Michael Boone to the Japanese. My brother had been a King but now he was a Pig, eviscerated. Turn the beast on its side and start pulling out the intestines. Take great care not to break open the stomach or intestines. When you've got the stomach and intestines pulled out as much as you can, you will find it hanging up just below the liver. RIP. He threw fifteen yards of good canvas on the Tempe Tip.

The ONCE-FAMOUS Michael Boone then established a lawncutting enterprise. I was never happier with an occupation but my brother was his father's son, always in a rage with traffic jams on the Parramatta Road, cost of two-stroke fuel, lawns too wet for decent care. FOR IN SUCH WISDOM IS MUCH VEXATION, AND THE MORE A MAN KNOWS THE MORE HE HAS TO SUFFER.

My sleep was penetrated by his bare feet, shuffling around the flat, his mind in a muddle, heart at its ceaseless work, fat collecting around the kidneys. I did not forget that my own happiness had been purchased at dreadful expense to him. BUT ... MY TURN NOW. I wish I was a nicer man. I liked to cut the grass, spring blades, the sweet smell, thrips flying in the hazy light, monarch butterflies, others whose names I did not know.

For five summers we had NORMAL LIFE.

Then the letter arrived from OUR FORMER ENEMIES in Germany and everything was changed. We had BOMBED THE SHIT OUT OF THEM but no mention was made of that when writing to inform Butcher of RECENT DEVELOPMENTS.

The letter was from the MUSEUM LUDWIG ha-ha no batteries needed. They invited my brother to see his pictures hung inside their VERY IMPORTANT MUSEUM as he told me more than once. At the same time he feared it was a very CRUEL TRICK.

He was a great fat old fellow now, his head burned violently by the summer sun, mouth turned down, hands always in his pockets looking for small change he was always SKINT. But the night he opened the letter from the Museum Ludwig it was FUCK THE EXPENSE he would talk to them ON THE BLOWER man to man. Thus in the kitchen of our comfy flat in Tempe it was officially confirmed that he had been rescued from the SCRAP HEAP OF HISTORY. The Japanese had donated two of his paintings to the Museum Ludwig and these two canvases—last seen in Mercer Street, New York, NY 10013— were now being given PRIDE OF PLACE. Well fuck me dead.

One minute we were broke—no money for anything but scrag end of lamb—but now we could afford air tickets to Germany, not just the two of us, but young Billy Bones as well, a great tall handsome bugger, no credit to the sire. Where did this money come from? MYOB.

My brother was then SAVED. You could also say REVERTED.

We travelled directly from Koln railway station and discovered his two best paintings facing each other across their own crypt in the Museum Ludwig.

J, THE SPEAKER, Michael Boone (Australia) b.1943-. Gift of the Dai Ichi Corporation IF YOU HAVE EVER SEEN A MAN DIE, Michael Boone (Australia) b.1943-. Gift of the Dai Ichi Corporation Being more knowledgable re LAWN MAINTENANCE I did not understand that this strike of lightning would now be repeated in other places, bless me, London, New York, Canberra, poor Mum, beyond her ken, her private prayers held up in public, a raging mystery for the world to see. The sad battered grass-cutter confronted his WORKS he had wild eyes and a wobbly smile.

"Jesus Christ," he said when he had read the plaque and saw the name of Marlene's PARTNER IN CRIME.

You have no idea, he said to me.

But old Slow Bones understood exactly. This was a love letter from Marlene. It was what she promised him the day he threatened her a violent death.

There was a CURATOR DOCTOR present at our viewing and when Butcher had found a hanky and blown his nose this chap politely asked would we like to see the Leibovitzes.

Butcher's answer was definite to the point of rude. N-O.

Well, said the Doctor, I thought you might enjoy the personal connection. We purchased a new Leibovitz from Mr. Mauri, your great collector.

Oh, said my brother. Oh, I see.

He stood staring at the Curator Doctor as if someone had sneaked up behind him and shoved a broomstick up his arse.

Lead on Macduff, he said.

Then we were off and galloping through the galleries, all of us large men, big feet, leather slapping the floors of the Museum Ludwig until we were arrived before a painting of a mechanical Charlie Chaplin which is said in French LE CHAPLIN MECANIQUE. I was concerned I was about to LET ONE OFF so stayed a certain distance but Butcher poked his sunburned nose right into it.

He asked when it had been purchased from Mauri.

No, said the Curator Doctor. Not that one. This one. This is our new acquisition.

And there behind us, bless me, was the dreadful thing my brother had put up on the roof in SoHo. Since then it had become LE GOLEM ELECTRIQUE. I held my tongue, but you should have seen my brother's face, like Melbourne weather, rain, sunshine, hail, smile, frown, scowl, blow the schnozzle, bless me, what will happen next?

How much?

Three point two said the Doctor slash Curator.

Deutschmark?

Dollars.

There was a wooden bench before this painting and my brother now sat down. He was very still. And then finally he gave a laugh right through his shiny nose. He looked from one of us to the other as he could choose who would be worthy of what he might say next. Not one of us. He spoke to no-one in particular: Best thing Leibovitz ever did.

And then he walked towards the bar, a great fat lumpy man one short arm in his pocket, the other hand rubbing at his speckled freckled sun-baked head.

56

I want to be liked, to be remembered fondly, and I would be an idiot to stand before you naked, but what else have I ever done?

MoMA, the Museum Ludwig, the Tate—I can't list all the museums to which Mauri has donated my works, nor imagine the skuzzy deals these gifts were tied to. Enough to know I soon rose like a phoenix from the ashes of my Butcher life.

My saviour? A murderer. Actually, it's worse than that, because even though I had once walked away from her, I was still a Bones, and all the blacks and whites, so clear that morning in New York, were destined to be wet on wet, slow-drying, ambiguous, a shifting tide between beauty and horror. It swelled beneath my skin, filled my mouth.

In those polluted summer suburbs when Hugh and I were chained behind our filthy Victa mowers, I was still-in spite of all the death and deception—a prisoner of this tangled past. While I trimmed the floral fucking borders in Bankstown, I was reliving those days before the fall, when my baby and I looked at light together, drank Lagavulin on the rocks, walked hand in hand in the Museum of Modern Art, all those nights she pressed her lovely head in against my neck and I breathed the jasmine air around her brow.