Halloween

by Paula Guran

  “Most of it was, anyhow.”

  “You cheated?” Now he was looking even more interested.

  “I had to make it understandable.”

  “Oh, sure. You couldn’t put in all those ding-dings and bells and Bob Crosbys.” These had been elements of Hat’s private code. Hawes laughed at the memory. “When he wanted to play a blues in G, he’d lean over and say, ‘Gs, please.’ ”

  “Did you get to know him at all well, personally?” I asked, thinking that the answer must be that he had not—I didn’t think that anyone had ever really known Hat very well.

  “Pretty well,” Hawes said. “A couple of times, around ’54 and ’55, he invited me home with him, to his parents’ house, I mean. We got to be friends on a Jazz at the Phil tour, and twice when we were in the South, he asked me if I wanted to eat some good home cooking.”

  “You went to his hometown?”

  He nodded. “His parents put me up. They were interesting people. Hat’s father, Red, was about the lightest black man I ever saw, and he could have passed for white anywhere, but I don’t suppose the thought ever occurred to him.”

  “Was the family band still going?”

  “No, to tell you the truth, I don’t think they were getting much work up toward the end of the forties. At the end, they were using a tenor player and a drummer from the high school band. And the church work got more and more demanding for Hat’s father.”

  “His father was a deacon, or something like that?”

  He raised his eyebrows. “No, Red was the Baptist minister. The Reverend. He ran that church. I think he even started it.”

  “Hat told me his father played piano in church, but . . .

  “The Reverend would have made a hell of a blues piano player, if he’d ever left his day job.”

  “There must have been another Baptist church in the neighborhood,” I said, thinking this the only explanation for the presence of two Baptist ministers. But why had Hat not mentioned that his own father, like Dee Sparks’s, had been a clergyman?

  “Are you kidding? There was barely enough money in that place to keep one of them going.” He looked at his watch, nodded at me, and began to move closer to his sidemen.

  “Could I ask you one more question?”

  “I suppose so,” he said, almost impatiently.

  “Did Hat strike you as superstitious?”

  Hawes grinned. “Oh, he was superstitious, all right. He told me he never worked on Halloween—he didn’t even want to go out of his room on Halloween. That’s why he left the big band, you know. They were starting a tour on Halloween, and Hat refused to do it. He just quit.” He leaned toward me. “I’ll tell you another funny thing. I always had the feeling that Hat was terrified of his father—I thought he invited me to Hatchville with him so I could be some kind of buffer between him and his father. Never made any sense to me. Red was a big strong old guy, and I’m pretty sure a long time ago he used to mess around with the ladies, Reverend or not, but I couldn’t ever figure out why Hat should be afraid of him. But whenever Red came into the room, Hat shut up. Funny, isn’t it?”

  I must have looked very perplexed. “Hatchville?”

  “Where they lived. Hatchville, Mississippi—not too far from Biloxi.”

  “But he told me—”

  “Hat never gave too many straight answers,” Hawes said. “And he didn’t let the facts get in the way of a good story. When you come to think of it, why should he? He was Hat.”

  After the next set, I walked back uphill to my hotel, wondering again about the long story Hat had told me. Had there been any truth in it at all?

  2

  Three weeks later I found myself released from a meeting at our Midwestern headquarters in downtown Chicago earlier than I had expected, and instead of going to a bar with the other wandering corporate ghosts like myself, made up a story about having to get home for dinner with visiting relatives. I didn’t want to admit to my fellow employees, committed like all male business people to aggressive endeavors such as racquetball, drinking, and the pursuit of women, that I intended to visit the library. Short of a trip to Mississippi, a good periodical room offered the most likely means of finding out once and for all how much truth had been in what Hat had told me.

  I hadn’t forgotten everything I had learned at Columbia—I still knew how to look things up.

  In the main library, a boy set me up with a monitor and spools of microfilm representing the complete contents of the daily newspapers from Biloxi and Hatchville, Mississippi, for Hat’s tenth and eleventh years. That made three papers, two for Biloxi and one for Hatchville, but all I had to examine were the issues dating from the end of October through the middle of November—I was looking for references to Eddie Grimes, Eleanore Monday, Mary Randolph, Abbey Montgomery, Hat’s family, The Backs, and anyone named Sparks.

  The Hatchville Blade, a gossipy daily printed on peach-colored paper, offered plenty of references to each of these names and places, and the papers from Biloxi contained nearly as many—Biloxi could not conceal the delight, disguised as horror, aroused in its collective soul by the unimaginable events taking place in the smaller, supposedly respectable town ten miles west. Biloxi was riveted, Biloxi was superior, Biloxi was virtually intoxicated with dread and outrage. In Hatchville, the press maintained a persistent optimistic dignity: when wickedness had appeared, justice official and unofficial had dealt with it. Hatchville was shocked but proud (or at least pretended to be proud), and Biloxi all but preened. The Blade printed detailed news stories, but the Biloxi papers suggested implications not allowed by Hatchville’s version of events. I needed Hatchville to confirm or question Hat’s story, but Biloxi gave me at least the beginning of a way to understand it.

  A black ex-convict named Edward Grimes had in some fashion persuaded or coerced Eleanore Monday, a retarded young white woman, to accompany him to an area variously described as “a longstanding local disgrace” (the Blade) and “a haunt of deepest vice” (Biloxi) and after “the perpetration of the most offensive and brutal deeds upon her person” (the Blade) or “acts which the judicious commentator must decline to imagine, much less describe” (Biloxi) murdered her, presumably to ensure her silence, and then buried the body near the “squalid dwelling” where he made and sold illegal liquor. State and local police departments acting in concert had located the body, identified Grimes as the fiend, and, after a search of his house, had tracked him to a warehouse where the murderer was killed in a gun battle. The Blade covered half its front page with a photograph of a gaping double door and a bloodstained wall. All Mississippi, both Hatchville and Biloxi declared, now could breathe more easily.

  The Blade gave the death of Mary Randolph a single paragraph on its back page, the Biloxi papers nothing.

  In Hatchville, the raid on The Backs was described as an heroic assault on a dangerous criminal encampment which had somehow come to flourish in a little-noticed section of the countryside. At great risk to themselves, anonymous citizens of Hatchville had descended like the army of the righteous and driven forth the hidden sinners from their dens. Troublemakers, beware! The Biloxi papers, while seeming to endorse the action in Hatchville, actually took another tone altogether. Can it be, they asked, that the Hatchville police had never before noticed the existence of a Sodom and Gomorrah so close to the town line? Did it take the savage murder of a helpless woman to bring it to their attention? Of course Biloxi celebrated the destruction of The Backs—such vileness must be eradicated—but it wondered what else had been destroyed along with the stills and the mean buildings where loose women had plied their trade. Men ever are men, and those who have succumbed to temptation may wish to remove from the face of the earth any evidence of their lapses. Had not the police of Hatchville ever heard the rumor, vague and doubtless baseless, that operations of an illegal nature had been performed in the selfsame Backs? That in an atmosphere of drugs, intoxication, and gambling, the races had mingled there, and that “fast” young women h
ad risked life and honor in search of illicit thrills? Hatchville may have rid itself of a few buildings, but Biloxi was willing to suggest that the problems of its smaller neighbor might not have disappeared with them.

  As this campaign of innuendo went on in Biloxi, the Blade blandly reported the ongoing events of any smaller American city. Miss Abigail Montgomery sailed with her aunt, Miss Lucinda Bright, from New Orleans to France for an eight-week tour of the continent. The Reverend Jasper Sparks of the Miller’s Hill Presbyterian Church delivered a sermon on the subject “Christian Forgiveness.” (Just after Thanksgiving, the Reverend Sparks’s son, Rodney, was sent off with the blessings and congratulations of all Hatchville to a private academy in Charleston, South Carolina.) There were bake sales, church socials, and costume parties. A saxophone virtuoso named Albert Woodland demonstrated his astonishing wizardy at a well-attended recital presented in Temperance Hall.

  Well, I knew the name of at least one person who had attended the recital. If Hat had chosen to disguise the name of his hometown, he had done so by substituting for it a name that represented another sort of home.

  But, although I had more ideas about this than before, I still did not know exactly what Hat had seen or done on Halloween night in The Backs. It seemed possible that he had gone there with a white boy of his age, a preacher’s son like himself, and had the wits scared out of him by whatever had happened to Abbey Montgomery—and after that night, Abbey herself had been sent out of town, as had Dee Sparks. I couldn’t think that a man had murdered the young woman, leaving Mary Randolph to bring her back to life. Surely whatever had happened to Abbey Montgomery had brought Dr. Garland out to The Backs, and what he had witnessed or done there had sent him away screaming. And this event—what had befallen a rich young white woman in the shadiest, most criminal section of a Mississippi county—had led to the slaying of Eddie Grimes and the murder of Mary Randolph. Because they knew what had happened, they had to die.

  I understood all this, and Hat had understood it, too. Yet he had introduced needless puzzles, as if embedded in the midst of this unresolved story were something he either wished to conceal or not to know. And concealed it would remain; if Hat did not know it, I never would. He had deliberately obscured even basic but meaningless facts: first Mary Randolph was a witch-woman from The Backs, then she was a respectable church-goer who lived down the street from his family. Whatever had really happened in The Backs on Halloween night was lost for good.

  On the Blade’s entertainment page for a Saturday in the middle of November I had come across a photograph of Hat’s family’s band, and when I had reached this hopeless point in my thinking, I spooled back across the pages to look at it again. Hat, his two brothers, his sister, and his parents stood in a straight line, tallest to smallest, in front of what must have been the family car. Hat held a C-melody saxophone, his brothers a trumpet and drumsticks, his sister a clarinet. As the piano player, the Reverend carried nothing at all—nothing except for what came through even a grainy, sixty-year old photograph as a powerful sense of self. Hat’s father had been a tall, impressive man, and in the photograph he looked as white as I did. But what was impressive was not the lightness of his skin, or even his striking handsomeness: what impressed was the sense of authority implicit in his posture, his straightforward gaze, even the dictatorial set of his chin. In retrospect, I was not surprised by what John Hawes had told me, for this man could easily be frightening. You would not wish to oppose him, you would not elect to get in his way. Beside him, Hat’s mother seemed vague and distracted, as if her husband had robbed her of all certainty. Then I noticed the car, and for the first time realized why it had been included in the photograph. It was a sign of their prosperity, the respectable status they had achieved—the car was as much an advertisement as the photograph. It was, I thought, an old Model T Ford, but I didn’t waste any time speculating that it might have been the Model T Hat had seen in The Backs.

  And that would be that—the hint of an absurd supposition—except for something I read a few days ago in a book called Cool Breeze: The Life of Grant Kilbert.

  There are few biographies of any jazz musicians apart from Louis Armstrong and Duke Ellington (though one does now exist of Hat, the title of which was drawn from my interview with him), and I was surprised to see Cool Breeze at the B. Dalton in our local mall. Biographies have not yet been written of Art Blakey, Clifford Brown, Ben Webster, Art Tatum, and many others of more musical and historical importance than Kilbert. Yet I should not have been surprised. Kilbert was one of those musicians who attract and maintain a large personal following, and twenty years after his death, almost all of his records have been released on CD, many of them in multi-disc boxed sets. He had been a great, great player, the closest to Hat of all his disciples. Because Kilbert had been one of my early heroes, I bought the book (for thirty-five dollars!) and brought it home.

  Like the lives of many jazz musicians, I suppose of artists in general, Kilbert’s had been an odd mixture of public fame and private misery. He had committed burglaries, even armed robberies, to feed his persistent heroin addiction; he had spent years in jail; his two marriages had ended in outright hatred; he had managed to betray most of his friends. That this weak, narcissistic louse had found it in himself to create music of real tenderness and beauty was one of art’s enigmas, but not actually a surprise. I’d heard and read enough stories about Grant Kilbert to know what kind of man he’d been.

  But what I had not known was that Kilbert, to all appearances an American of conventional northern European, perhaps Scandinavian or Anglo-Saxon, stock, had occasionally claimed to be black. (This claim had always been dismissed, apparently, as another indication of Kilbert’s mental aberrancy.) At other times, being Kilbert, he had denied ever making this claim.

  Neither had I known that the received versions of his birth and upbringing were in question. Unlike Hat, Kilbert had been interviewed dozens of times both in Downbeat and in mass market weekly news magazines, invariably to offer the same story of having been born in Hattiesburg, Mississippi, to an unmusical, working-class family (a plumber’s family), of knowing virtually from infancy that he was born to make music, of begging for and finally being given a saxophone, of early mastery and the dazzled admiration of his teachers, then of dropping out of school at sixteen and joining the Woody Herman band. After that, almost immediate fame.

  Most of this, the Grant Kilbert myth, was undisputed. He had been raised in Hattiesburg by a plumber named Kilbert, he had been a prodigy and high-school dropout, he’d become famous with Woody Herman before he was twenty. Yet he told a few friends, not necessarily those to whom he said he was black, that he’d been adopted by the Kilberts, and that once or twice, in great anger, either the plumber or his wife had told him that he had been born into poverty and disgrace and that he’d better by God be grateful for the opportunities he’d been given. The source of this story was John Hawes, who’d met Kilbert on another long JATP tour, the last he made before leaving the road for film scoring.

  “Grant didn’t have a lot of friends on that tour,” Hawes told the biographer. “Even though he was such a great player, you never knew what he was going to say, and if he was in a bad mood, he was liable to put down some of the older players. He was always respectful around Hat, his whole style was based on Hat’s, but Hat could go days without saying anything, and by those days he certainly wasn’t making any new friends. Still, he’d let Grant sit next to him on the bus, and nod his head while Grant talked to him, so he must have felt some affection for him. Anyhow, eventually I was about the only guy on the tour that was willing to have a conversation with Grant, and we’d sit up in the bar late at night after the concerts. The way he played, I could forgive him a lot of failings. One of those nights, he said that he’d been adopted, and that not knowing who his real parents were was driving him crazy. He didn’t even have a birth certificate. From a hint his mother once gave him, he thought one of his birth parents was black, but when
he asked them directly, they always denied it. These were white Mississippians, after all, and if they had wanted a baby so bad that they taken in a child who looked completely white but maybe had a drop or two of black blood in his veins, they weren’t going to admit it, even to themselves.”

  In the midst of so much supposition, here is a fact. Grant Kilbert was exactly eleven years younger than Hat. The jazz encyclopedias give his birth date as November first, which instead of his actual birthday may have been the day he was delivered to the couple in Hattiesburg.

  I wonder if Hat saw more than he admitted to me of the man leaving the shack where Abbey Montgomery lay on bloody sheets; I wonder if he had reason to fear his father. I don’t know if what I am thinking is correct—I’ll never know that—but now, finally, I think I know why Hat never wanted to go out of his room on Halloween nights. The story he told me never left him, but it must have been most fully present on those nights. I think he heard the screams, saw the bleeding girl, and saw Mary Randolph staring at him with displaced pain and rage. I think that in some small closed corner deep within himself, he knew who had been the real object of these feelings, and therefore had to lock himself inside his hotel room and gulp gin until he obliterated the horror of his own thoughts.

  THREE DOORS

  Norman Partridge

  Norman Partridge’s tale involves a prosthetic hand its owner believes will magically open three doors; anyone waiting on the other sides of those doors will be his to command.

  Going door-to-door and begging is not the only custom involving doors and Halloween. In some cultures doors and are left open on Halloween for visiting family spirits to easily enter and depart. The parshell—a cross made of straw or corn husks hung inside over the doorway each Halloween as protection against evil and sickness for the year—was an Irish custom. Many other magical protections involve doors: Celts sought to appease fairies by leaving milk and food on doorsteps. In Britain, rowan branches or osier twigs were placed above a door to keep witches out. Horseshoes offer similar protection. Doors and gateways were frequently attacked in various ways in the days of serious pranking.