The War of the Flowers

by Tad Williams

  Dear Anna, Well, it's been a few weeks so I thought I should write you again, since you said you wanted me to write. Life is pretty much the same. Jenrette, the guy in the next bunk, still snores like crazy. The food is pretty bad, but at least there's not much of it! (Joke) I hope you and your Mom and Dad are good, and that your Dad isn't still having so much trouble with being sick and missing work, like you wrote. We had to put together a supply hut the other day and I was in charge, which was harder than it sounds because it is really windy here, "blowing up a gale" most of the time, and the sheet metal wants to blow away and it is really heavy! But we got the hut built OK . . .

  There was another page just as inconsequential, and it was signed, not "Love," not "Passionately yours," but "Sincerely." Had they slept together yet? Theo wondered. A stolen night or two at a motel, or in a school friend's room before he shipped out? It was frighteningly close to what he'd believed of his father at the worst moments — that he really was the kind of man who would send a letter signed, "Sincerely, Cpl. Peter Vilmos" to someone he'd seen naked.

  His mother had kept a few other letters from his father, and some anniversary and birthday cards, but the old man hadn't gotten any more Casanova-ish as the years went by, although he did at least abandon "Sincerely" as the years went on, and even signed some of the later ones "Love, Pete."

  Other than that, there was very little to show for a lifetime. More birthday cards from Theo, but notably absent once he had turned twelve or so, some letters from relatives and, to his surprise, more than a few clippings from local papers about his own youthful career. Here was one from the Peninsula Times-Tribune about his high-school production of Guys and Dolls, one paragraph marked with a highlighting pen:

  "If some of the other leads were a little shaky in both vocal range and Runyonesque accents, the same cannot be said of Theodore Vilmos, who brought verve and energy and an astonishing strength of voice to the role of Sky Masterson, the big-time gambler with the heart of gold. Young Vilmos commanded the stage, and this reviewer would not be surprised some years up the road to hear that he is playing this role and others on Broadway . . ."

  She had saved other things, too, more local write-ups about other plays and choral concerts where he had soloed, and even a review of a performance by his first band from Shredder, a semi-punky Eighties fanzine. He had wondered once or twice where that review had got to, and here it was.

  "The lead singer is fucking hot, man, and I don't usually say that about boys, if you know what I mean. I haven't heard anyone sing like that since Bono and U2 broke, pretty angry and angry-pretty. I mean, if Eaten Young hang onto their singer, these guys are seriously commercial. I don't know if that's good or bad, but it's the truth . . ."

  The fact that his mother had carefully censored the f-word with a black felt-tip, the fact that she would even have a magazine called Shredder hidden away in her drawer just because it mentioned his singing, almost made him start crying all over again. Who knew?

  But the story's clear, isn't it? Johnny, Cat, even these reviews — I didn't take it where I should have. When did it all go sideways? He was depressed now in a way he hadn't expected to be, not just about his mother's insignificant life, but his own. He put the reviews aside and riffled through the rest of the papers. His mother had saved a few random recipes, a couple of notes from Grandma Dowd — no letters, but then she had lived with Mom and Dad the last fifteen years of her life, so why would she send her daughter letters? The notes from his grandmother were so uninteresting on the surface — one seemed to be a request for Anna to pick up a prescription, the other a page torn off an insurance company letterhead notepad that said only, "Im sorry I forgot. Please remind me to look for it tomorrow. Mama." — that for a little while Theo wondered if they might, given some momentarily absent context, actually be important, might be revealed as clues to some larger family story. It was only as he leafed through the rest of the unedifying pile of paid bills and statements that he realized the reason Anna Dowd Vilmos had hung onto those meaningless notes was because she had nothing else of her own mother's to keep.

  Goodnight Nobody. For a moment the chill seemed about to return, but it was only a shiver of despair at the thought of two people, both dead now — three people, counting his father with his quonset-hut news bulletins — who had left so little behind to mark their existence, who had disappeared into death like stones thrown into a river, the ripples gone within moments.

  Everybody starts out as somebody. Then it slips away.

  He wanted another beer, now. He really wanted another beer. As he piled the papers back into the box, something he had missed the first time tumbled out of the large brown envelope of holiday recipies into which it had fallen. It was another small greeting-card envelope, but strangely heavy. His mother's name and address were written on it in oldfashioned, somewhat cramped handwriting.

  What slid out of the envelope was not a card but a folded letter. The surprising weight came from a bankbook and a small key taped to the bottom of the last page of the letter with yellowed cellophane tape. Theo's eye flicked to the ornate signature, which took him a moment to puzzle out.

  Your obedient servant, Eamonn Dowd He was pretty certain that Eamonn Dowd was one of Grandma Dowd's brothers, although he couldn't remember much of what she'd said about any of them, since she'd left them all behind when she'd moved out to California.

  It was a longish letter, at least by comparison to the others his mother had saved. The postmark gave its date as January of 1971, only a couple of years after Theo's own birth. He considered another beer, then changed his mind and made himself a cup of instant coffee as he worked his way through the somewhat spiky handwriting.

  My dear niece, You will doubtless have trouble remembering me, since we have not met since you were a very young girl, but now that your mother is gone you are the only family that I have left — the only true family, that is. Your mother, my sister Margaret, was the only one of that quarrelsome, blighted brood into which I was born for whom I felt fondness. If I saw little of her over the years, and even less of you, it is because my travels did not permit it, rather than any lack of good feeling.

  Having known so little of me, you will doubtless find it strange when I say I owe you and the rest of your family a debt of shame that cannot be reduced or put right. I will not explain it — I could not do so in a letter, in any case — but I will say that it weighs heavily on me now, when I am about to set out on a journey from which there will be no returning. As a small gesture of good will and regret at having been such a poor uncle, I give to you and your husband and infant son what little I have left in the way of worldly property.

  Sadly, there is no family manor or chest of jeweled heirlooms. There is instead a small bank account and a few personal papers and other odds and ends. The money is yours — it is not much, but it will perhaps one day help pay for an education for your son, or tide you over some of the lean times through which most lives pass.

  Again, I am sorry, even though it means nothing to you now, and most likely never will. Among my effects you will find a book. Should you be so surfeited with leisure time that you decide to read it, please do not take it as the ravings of a disordered mind. It was an attempt at fiction of sorts, although not a successful one, I fear — a type of modern fairy tale that I hoped might find some small readership. But I could think of no effective ending. Now all endings seem one to me.

  I wish you and your young family healthy and happy lives. Theo narrowed his eyes, shook his head, then read the letter again. It did not seem to fit into the rest of his mother's keepsakes any better than it had the first time. In the midst of stultifying normality, it made an odd little space for itself — like something out of an O. Henry story.

  The small key had to be for a safe-deposit box: that much seemed clear. The bankbook, its ruled lines full of careful little handwritten notations, was from something called Traveler's Bank, with an address on Duende Street here in San Francisco.
He'd never heard of the street, but the smudgy, carbon-paper directions to the place suggested it must be somewhere in the area of Russian Hill. The account had totaled something near five thousand dollars — not a small amount thirty years ago, but not quite the life-changing bequest from a rich uncle that people dreamed about. It had all been withdrawn a week or so after the date on the letter, and the emptied account seemed not to have been touched since. It was funny that his mother had never mentioned it, but not really out of character.

  Theo now remembered that he had heard his grandmother talk about her brother Eamonn at least once or twice: she had described him as "the handsome one in the family," but also said that he "never did put down roots," or words to that effect. But she had seemed fond of him, as his letter suggested. He also recalled her saying something like, "If only he'd put all that cleverness to work," about some close relative of hers, which he guessed now might be this Eamonn, "he'd have been a millionaire. But all that reading and such is no substitute for a bit of elbow grease."

  Theo stared at the bankbook. What had happened to the man? Had he been sick when he wrote this? That "a journey from which there will be no returning" didn't sound very good. And what had he done to the family that he felt he had to apologize to Theo's mother, someone he seemed scarcely to have known?

  The bank account was long empty, but where were the other papers the letter had mentioned? Theo knew he had more pertinent matters waiting for him, but this letter from his great-uncle was the first thing he had come across in ordering his mother's estate that wasn't simply depressing. After that weird turn he'd just taken, he very much wanted to be doing something, anything, that might take him outside into the fresh air.

  And why is this key still here, anyway? It has to be a safe-deposit box. But even if it's at this whatever-it-is bank, this Traveler's place, it won't do me any good unless I know the box number. I suppose I could do it the legal way, show them it's part of my mom's estate and ask them to tell me the number, but that means I have to wait until it all goes through probate or some damn thing, doesn't it?

  Irritated and weary at the thought, he picked at the edge of the stiff, ochertinted strip of tape that secured the key to the letter. The ancient cellophane parted from the paper on one side and the key swung out like a hinge, giving him a glimpse of ink. Behind it, so small that it had been hidden by the key itself, was the number "612" written in his great-uncle Eamonn's cramped, careful hand.

  ————— He found it on a strange little cross street halfway up a steep hill; it was one of those San Francisco Victorian houses so narrow that it was easy to walk past it without noticing the Traveler's Bank sign beside the doorbell. His first thought was that it was pretty strange to have a bank in a house, his second that someone must have kept the name but turned it into something else — one of those bijou restaurants people don't find unless a friend tells them about it, or a graphic arts studio. It was too small to be a modern bank, and on a street like this the walk-in business must be nonexistent.

  There was a glass panel in the front door, but the lights seemed to be out inside and he could see nothing of what lay beyond. There was a speaker grille with a small button next to the bank's name, so he pushed it.

  "Krrawk murrkagl mornt?" The small, nervous voice that gurgled back out of the grille might possibly have been human.

  "Hello? I have a safe-deposit box here, I think?" After a few moments, the door buzzed. He popped it open, found himself in a dark stair-lobby, and walked up the steps. The door on the first floor landing was open. A plump young woman with pale, straight hair stood there, waiting nervously. "Did you say you have safe-deposit?" She had a bit of an accent, perhaps Eastern European.

  "Yes. It was part of my mother's estate, given to her by her uncle, a man named Dowd." He handed her the letter and the passbook. "You can see for yourself. He had a regular savings account here, too." He held up the key. "The box number is 612."

  "Oh." She said it as though he had just informed her nuclear war would begin at any moment. "Oh, no."

  "What?"

  She shook her head. "Mr. Root, he is not here." But she turned and led him through the door. If it was a bank lobby, it was the strangest, smallest one he'd ever seen. The whole room was about the size of a Victorian parlor, and similarly decorated. Pictures of stern-looking men in antique black suits hung on the wall, surrounded by dusty baroque frames; in such a cramped room they seemed almost to be leaning in on top of visitors. Four clocks showing different times were displayed in a row on the wall, but instead of the usual London, Tokyo, and other financial centers, the plaques beneath the old-fashioned faces read Glastonbury, Carcassone, Alexandria, and Persepolis. Was it a musty old joke of some kind? He'd heard of most of them, but he wasn't sure why anyone would care what time it was in any of those places. There were a few other pieces of office equipment, but none of them appeared to be a great deal more recent than the Age of Steam, except for some kind of huge teletype machine with a table all to itself near the back of the room, which looked like it might have been state of the art during the Second World War.

  "Do you still have the safe-deposit boxes?"

  She nodded eagerly. "Oh yes. In back rooms." She gestured at the rear wall and the door there, flanked by portraits of two frowning patriarchs. "And when will this Mr. Rude be back?" "No, Root — like tree, yes? But I don't know." Her pleasure at being able to confirm the existence of the boxes had dissolved, plunging her into anxiety once more. "He comes in not very much. Maybe Friday? Maybe Monday?"

  Theo looked around again. A stuffed crow stood in a glass case just behind the room's front door. "And you're just here by yourself the rest of the time?"

  Now her slightly bovine features took on a look of alarm. "Not alone. There are other people in other offices — next door, there is Pan-Pacific Novelties."

  "I don't mean any harm, I just . . . it seems weird. I mean, this is a bank, right? I've never seen a bank that looked like this." She shrugged. "Most of customers very old, I think. They don't come here. Used to be very busy, this place, but years are gone. Now most of banking done by telephone, by fax." She pointed first at the rotary-dial phone, then at the massive piece of machinery Theo had noticed earlier. "Mostly I just answer questions."

  "Questions? Like . . . ?"

  She flushed, and was suddenly a much prettier girl. "Like, is fax machine on?" He felt guilty for giving her the third degree. It wasn't her fault she was working for a company that was probably a front for some bizarre offshore money-laundering scheme. "Sorry. Let me just get into the box and I'll let you get back to your work."

  "Get into box?"

  "Yes. You said they're in the back, right? The safety-deposit boxes?" "But Mr. Root not here." "I don't need a loan or anything. There's a box in there that originally belonged to my mother's uncle. It's mine now. I've got the letter where he gave it to her, and I've got a photocopy of her letter making me executor of her estate, and I've got the key to the box. That's how these things work." He started toward the door at the back of the cramped room. "Back here, right?"

  She flapped her hands a little and looked at the heavy old dial phone as if considering calling her absent boss to come save her from this madman who actually wanted to use the Traveler's Bank as a bank.

  Or maybe she's thinking about stunning me with that ten-pound bakelite receiver if I get any farther out of line. If the front room was dark and old-fashioned, Theo thought that the back room made it look like a pop-art painting by comparison. The only light came from a nest of wires which had once underpinned a spherical paper shade, the naked bulb now exposed in their midst like a glowing sun at the center of a medieval orrery. There were shelves and shelves of long, narrow boxes, but most of them seemed to be the bank's records, cartons stuffed with three-by-five cards lettered by hand.

  "Mr. Root, he wants to get someone to put all this in computer," the girl said apologetically. Theo tried hard not to laugh at the thought of some poor bastard ha
ving to do the data entry for what looked like a perfectly preserved nineteenthcentury fiscal institution. If this was not the back room for Scrooge and Marley, it was a damn good imitation. "Just show me the safe-deposit boxes, please."

  The metal boxes had several shelves of their own near the back, with a strip of carpet and a very old swivel chair set up for the convenience of whatever Bob Cratchit had to work with them. Theo found 612, sat down with it in his lap, and wiggled the key back and forth several times without success. The problem was an old lock, not the wrong key: after a few more tries the key scraped past whatever grit had impeded it and the lock opened. Theo would not have been surprised to see a cloud of dust billow up out of the box, as though he had unsealed Tutankhamen's tomb. Instead of gold or jewels — not that he'd been counting on either — he found only a leather-bound notebook.

  He said good-bye to the flustered young woman and walked down the stairs, the fairy-tale reader in him half-expecting to discover that his dozen minutes inside had really been a dozen hours, that he would find the moon high in the sky and the nighttime neighborhood deserted, but outside the front door it was still prosaic afternoon. He stepped out of tiny Duende Street and headed back toward his motorcycle, the sun glaring flatly and the wind curling up the steep road, carrying the scent of the bay to him as it tugged at his hair and clothes.

  —————

  He went to a Denny's to get an early dinner, and while he waited for his turkey sandwich he sugared his coffee and opened the notebook. Eamonn Dowd's cramped script was easier to read now, either because Theo was becoming used to it or because the piece of writing he had labeled an attempt at fiction had been produced in less hurried circumstances than the letter he had sent to his niece. From the opening lines it read more like autobiography than a novel, but that was well within the eighteenth- and nineteenth-century tradition that seemed to have been more comfortable for Dowd than something closer to his own era. Theo wondered when his great-uncle had been born, working back from Grandmother Dowd's death in the early 1980s. If he was one of her older brothers, especially by as much as fifteen years — not impossible in such a large family — he could have been born in the late 1890s, which would make his literary influences fairly reasonable.