"Juju wants to tell you. Hey Bobby. Listen."
"Go way, all right?"
"Hey Bobby."
"Fuck out of here."
"Hey Bobby."
"Irbu see I'm working over here?"
"Hey Bobby. Juju wants to tell you this one thing."
"What."
"Hey Bobby."
"All right. What."
"This one thing."
"All right. What."
"Shit in your fist and squeeze it," Nick said.
She didn't know what to call it, a lightness, a waft, something with change in it, treebloom or fragrant rain, and she stood on the stoop and watched a man across the street chip rust from his fire escape, up on the fourth floor.
A truck pulled up in front of the grocery two doors down. The grocer's son came out and unlocked the metal hatch in the sidewalk and lifted the two swing-back sections. The men unloaded crates of soda and took them on a handcart into the store, the older man, or carried them by the hand grips, the younger, down the hatchway into the storage cellar.
Klara lit a cigarette and thought about going across the street to get the child, who was being minded by the tailor's wife today, this was a Wednesday, because it was nearly time.
The younger man wandered over to the stoop on the way to his third or fourth trip into the cellar.
"You wouldn't think of saving me a drag, would you, on that cigarette?"
She looked at him, taking in the question.
"Hate to ask," he said.
She looked at him, taking in the damp shirt and scuffed dungarees, the way he held the crate at belly level, forearms veined beneath the rolled sleeves.
"One drag could mean the difference," he said, "between life and death."
She said, "In which direction?"
He smiled and looked away. Then he looked at her and said, "When you need a smoke, does it matter?"
She reached out and offered the cigarette but he didn't put down the soda crate and take it. Instead he climbed two steps in her direction and looked right at her and this meant she had to place the cigarette between his lips or withdraw the offer.
At first she didn't do either. She took a drag herself and said, 'Aren't you afraid it'll stunt your growth?"
Six days later, or seven, she came out of the flat and locked the door. There was someone on the stoop looking in through the vestibule. She knew exactly who it was and what he was here for and she made a gesture that was either a shrug or a come-on. Then she put the key back in the door she'd just locked, unlocking it.
He followed her into the spare room and when she turned he was right there. He was pretty big and lifted her into the wall. She kicked out of her shoes and grabbed his hair, a fistful, and jerked his face away from hers so she could look at him.
When they were nearly naked they stood watching each other. There was no bed or sofa and they barely touched, his hand on her upper arm, which she pushed away. She kept waiting to feel crazy but didn't. He put his hand on her upper arm and she knocked it off. He shrugged and laughed, like what's going on. She put her hand to his chest. She could make him stop laughing by touching him.
She said, 'Are you a boy I ought to know? Who are you? Not that I give a damn."
He was darkish and well-built and he moved her into the wall again. She pushed her hair out of her face. She thought as long as she kept him in this one room, no one could say there was something crazy going on. This was the spare room, the paint room. She wasn't supposed to be naked here but aside from that, her feet cold on the bare floor, there was nothing awfully strange happening here.
He had his hands all over her. He smelled of cigarettes and something else, some odd body must mixed with sweat. They kissed for a time that seemed to be hours. It seemed to be taking hours, long sluicy kisses that she disappeared into, distant, empty, feeling his hand brusque on her tit, but also practical all of a sudden, yes, pushing him off and going into the closet down the hall and getting the spare mattress for the child's bed, a Jewish heirloom of the generations.
She went back to the room and gave him the mattress, rolled up and tied in a length of twine. He stood it on end and pretended to hump it, his tongue hanging out.
She noticed the room. He unknotted the twine and flopped the small mattress down and lowered himself to his knees, waiting. The room was beautiful in this light, shadow-banded, all lines and gaps, claire-obscure, and she walked over to him, untrusting of course, and motioned for him to sit back on his haunches.
She didn't know what would come next, second to second, and kept resisting even as she moved into him, biting and stroking, the word stroke, the word cock, half resisting everything he did, smelling work and basement on his body, sour rooms webbed in dust.
They were everywhere on each other, noisy and damp, taking in air the way you drink down water, deep and sort of smacking, in drawn portions. He was here to be explored a little. She liked stopping and watching, or looking away actually, or guiding his hand, or going into the kitchen for a glass of water and coming back and pouring it partly on his chest, a body disproportionate to the bedding, and then handing him the glass and watching him drink and thinking there was nothing crazy going on that she could clearly locate except that she was naked in her workroom.
Then they were everywhere at once again, looped about each other, everything new for the second time, and she closed her eyes to see them together, which she could almost do, which she could do for the sheerest time, bodies turned and edged and sidled, one way and the other, this and that concurrent, here but also there, like back-fronted Picasso lovers.
When he went to find the toilet she thought she'd feel strange and crazy and out of her mind, finally, but she just sat on the mattress smoking.
"Thirteen inch we got."
"Thirteen inch."
"What-do-you-call. Admiral."
"Admiral. This is, what, better than Captain?"
"Clear. No snow."
"Thirteen inch. What kind of thirteen inch? You want thirteen inch? Bend over,"
"Hey. You and what army?"
"Bend over. I'll show you no snow." "You and what army?"
"You got an Admiral. I give you a Motorola." "Your whole family couldn't come up with thirteen inches. Including your grandfather and his monkey."
Bronzini stood before his class, forty-four stoical souls in general science. Most sixteen years old, a few older, even eighteen, the dopier ones, the discombobulates, left back at some point in the long alpine march to knowledge.
He stood behind his platformed desk and spoke to the walls and the ceiling, to the windows at the far end of the room. He spoke to the bus-fumed air of Fordham Road and the university in the trees beyond, where seniors at the college wore bachelor robes and where the names of the alumni dead of World War I were engraved on capitals atop the stone posts that marked the south boundary of the campus.
Universitas Fordhamensis.
"We can't see the world clearly until we understand how nature is organized. We need to count, measure and test. This is the scientific method. Science. The observation and description of phenomena. Phenomena. Things perceptible to the senses. The seasons make sense. At a certain time the cold diminishes, the days grow longer. It happens at the same time every year. We spoke last class about the difference between equinox and solstice and you remember this, I trust, Miss Innocenti. The planets move in an orderly manner. We can predict their passage across the skies. And we can admire the mathematics involved. The ellipsoid passage of the planets around the sun. Ellipse. A slightly flattened circle. Here we detect form and order, we see the laws of nature in their splendid harmony. Think of the rhythm of waves. The birth of babies. When a woman is due to give birth, Applebaum, eyes front, we say she is coming to term. The precision of nature becomes evident in the birth-giving process. The woman follows stages. The fetus grows and develops. We can predict, we can say roughly this week or next week is the time when the child will be born. Coming to term, Miss Innocenti, as you chew your gum a mile a minute. Carrying the fetus to term. Nine months. Seven pounds two ounces. We need numbers to make sense of the world. We think in numbers. We think in decades. Because we need organizing principles, Alfonse Catanzaro, yes, to make us less muddled."