Page Turner Pa

by David Leavitt

  Table of Contents

  Title Page

  Table of Contents

  Copyright

  Dedication

  Acknowledgments

  Epigraph

  AN EAR WORM

  1

  2

  3

  4

  5

  6

  7

  8

  9

  10

  11

  MUSICLAND

  12

  13

  14

  15

  16

  THE HAND THAT FEEDS YOU

  17

  18

  19

  20

  21

  Copyright © 1998 by David Leavitt

  All rights reserved

  For information about permission to reproduce selections from this book, write to Permissions, Houghton Mifflin Company, 215 Park Avenue South, New York, New York 10003.

  Library of Congress Cataloging-in-Publication Data

  Leavitt, David, date.

  The page turner : a novel / by David Leavitt,

  p. cm.

  ISBN: 978-0-395-95787-5

  I. Title.

  PS3562.E2618P34 1998

  813'.54—dc21 97-44864 CIP

  Book design by Anne Chalmers

  Typeface: Granjon (Adobe PostScript™)

  Printed in the United States of America

  QUM 10 9 8 7 6 5 4 3 2 1

  "Good Morning," by Nacio Herb Brown and Arthur Freed © 1939 (renewed) Chappell and Company. All rights reserved. Used by permission. Warner Bros. Publications U.S., Inc., Miami, FL 33014.

  For Mark, Mitchell

  I owe much of what I know about Rome—and especially about the old Pasquino Theater—to Louis Inturrissi (1941–1997), into whose lap a cat once fell from the sky.

  —D.L.

  Why can't people have what they want? The things were there to content everybody; yet everybody has the wrong thing.

  —Ford Madox Ford, The Good Soldier

  AN EAR WORM

  1

  "PAUL! Let me fix your tie!"

  All at once his mother was on him, her hands at his throat.

  "Mother, please, my tie's all right—"

  "Let me just tighten the knot, honey, you don't want to have a loose knot for your debut—"

  "It's not my debut."

  "When my son sits up on a stage in front of two thousand people, I consider it a debut. There, much better."

  She stepped back slightly, smoothed his lapels with long fingers. Even so, her face was close enough to kiss: he could see her crow's-feet under make-up, smell the cola-like sweetness of her lipstick, the Wrigley's on her breath.

  "That's good enough, Mother."

  "Just one little adjustment—"

  "I said it was good enough!"

  Writhing away from her, Paul hurried across the wings, to where Mr. Mansourian, the impresario, awaited him.

  "Well, well, well," said Mr. Mansourian, "if you're not the best-dressed page turner I've ever seen. Come on, I'll introduce you to Kennington."

  "Good luck, sweetheart!" Pamela called almost mournfully. She waved at Paul, a tissue balled in her fist. "Break a leg! I'll see you after the concert."

  He didn't answer. He was out of earshot, out of the wings, beyond which the hum of the settling audience was becoming audible.

  Mr. Mansourian led him up steep stairways and along antiseptic corridors, to a dressing room at the door to which he knocked three times with sharp authority.

  "Come in!"

  They went. In front of mirrors Richard Kennington, the famous pianist, sat on a plastic chair, bow tie slack around his throat. He was drinking coffee. Isidore Gerstler, the famous cellist, was eating a cinnamon-frosted doughnut out of a box. Maria Luisa Strauss, the famous violinist, was stubbing out a cigarette in an ashtray already overflowing with red-tipped butts. Her perfume, capacious and spicy, suggested harems. Yet the room had no softness, no Persian carpets. Instead it was all lightbulbs that brightened the musicians' faces to a yellowish intensity.

  "Good evening, folks," Mr. Mansourian said, shutting the door firmly. "Richard, I'd like you to meet Paul Porterfield, your page turner."

  Haltingly Kennington revolved in his seat. He had dark, flat hair, short sideburns, eyes the color of cherry wood. Fine ridges scored his face, which was slightly weather-beaten: not old-looking exactly, just older-looking than the pictures on his CDs suggested. As it happened, Paul owned all eight of Kennington's CDs.

  Kennington smiled. "Pleased to meet you, Paul Porterfield," he said, holding out his hand.

  "Thank you, sir," Paul answered, and accepted the hand with caution; after all, he'd never had the opportunity to touch anything so precious before. Yet it did not feel different from an ordinary hand, he reflected. Nor did anything in Kennington's handshake transmit to Paul the magic that happened when he sat down in front of a piano.

  "This is an honor for me," Paul went on. "I've always been a great admirer of yours."

  "Very kind of you to say so. And may I introduce my cohorts?"

  Isidore Gerstler, still involved with his doughnut, only waved. But Maria Luisa Strauss winked at Paul, shook out her long black hair, played with the gold ankh that hung between her freckled breasts. "I've never seen such a well-dressed page turner," she said.

  "So what are you working on, Paul?"

  "Kreisleriana right now. My teacher's Olga Novotna, by the way. She said to send you her regards. And on my own, Webern. Miss Novotna doesn't approve of Webern, so—"

  "Old Olga Higginbotham! Isn't she dead yet?" Isidore Gerstler interrupted.

  "No sir, she's not."

  "Kessler wrote the Second Symphony for her," said Maria Luisa Strauss. "She is O."

  "I never understood why she changed her name," Kennington said. "Isn't an American name good enough? Well, we should go over the program. Pull up a chair."

  Paul did. Brown circles stained the laminated surface of the table, which was empty except for a stack of scores, an eyeglass case, and a plastic bag that appeared to contain knitting.

  Kennington opened the first of the scores. "So, we start with the Tchaikovsky—"

  "A wonderful choice, sir, if I might say so."

  "I'm glad you approve. Oh, and we take the standard cut in the variations."

  "Fine."

  "Then after the interval, the Archduke. No problems there. And if the audience behaves and we decide to do an encore, it'll be the andante from the Schubert B-flat. I presume you're familiar with the Schubert B-flat—"

  "I own your 1983 recording of it with DeLaria and Miss Strauss."

  Miss Strauss smiled.

  "Well, you've clearly done your homework," Kennington said. "It isn't often that I get such a gung-ho page turner. In Ravenna once I had an old lady called—if you can believe it—Signora Mozzarella. Remember, Joseph? Charming but palsied."

  "Signora Mozzarella is legendary in the land of Dante," Mr. Mansourian observed.

  "Page turning is an art in its way, I suppose," Kennington went on. Then, taking a sip from his coffee cup, he abandoned— to Paul's lasting regret—this fascinating train of thought. "Well, I guess I'm ready. Tushi, you ready?"

  "Yes, Richard."

  "Izzy, you ready?"

  "Yes, Richard."

  "Has everybody gone?" Mr. Mansourian asked.

  "Oops. Thanks for reminding me." Wiping cinnamon from his fingers, Izzy hurried into the bathroom. He didn't close the door.

  An unzipping presently sounded, followed by the virile sound of flowing urine.

  "Oh, please!" Mr. Mansourian clapped a hand against his forehead. "Folks, need I remind you there's a lady present?"

  "Hey, Izzy, sav
e some for me!" Kennington shouted. "I'm thirsty!"

  Tushi rolled her eyes and blew a little kiss at Paul, who blushed.

  "You've got to excuse us," Izzy said, zipping up. "After a few weeks on the road, we get punchy."

  "Don't worry," Paul said. "I'm sure when I start my performing career, I'll get punchy too."

  "Well, let's get a move on, then," Mr. Mansourian said, and opened the door.

  "Good-bye," Paul said.

  "Good-bye," Kennington said.

  Paul followed Mr. Mansourian into the corridor.

  Paul, who was just eighteen, had never turned pages before. Oh, certainly, he'd wanted to; indeed, had hinted both to Miss Novotna and Mr. Wang, his high school music teacher, how grateful he'd be for the opportunity. Nothing had happened, however, until Judith Schmidt, the musicology Ph.D. candidate at Stanford who usually took the job, decided at the last minute to attend a Shostakovich conference in Arizona. A gap opened up, one that Paul, to his delight, was asked to fill: thus houselights, backstage, the opening in the curtain through which he now glimpsed the immense Steinway, throbbing before a slice of unsettled audience.

  Beside him, Mr. Mansourian was giving advice. "Just have a good time out there," he was saying. "Only be sure not to turn two pages by mistake. Richard slapped a page turner for that once."

  "Don't worry. I've been practicing with my mother."

  "Ah, your mother. I imagine she's taken her seat."

  "I hope so."

  Mr. Mansourian placed his hand on Paul's shoulder in what might have been a paternalistic gesture.

  "So what are your plans, son? Hoping to make a career of it?"

  "Not hoping. Intending."

  "You must be very good indeed."

  "Miss Novotna says I'm the most promising pupil she's had in years."

  Mr. Mansourian, who had heard this kind of thing before, suppressed a smile. "Then I guess it'll be the C track," he said. "Conservatory, competitions, concerts. Yes, I can see it all. From the Cliburn to Carnegie Hall, from Carnegie Hall to an exclusive contract—"

  "That's jumping ahead of things a bit," Paul interrupted. "But I do intend to go to Juilliard, if I'm accepted."

  Mr. Mansourian slipped a business card into Paul's breast pocket. "Keep this," he said. "Come play for me if you like. I've got a piano in my suite at the Clift."

  "Yes, sir. Thank you, sir."

  "Or we could have a drink." His stare suddenly grew cautious. "That is, if you're old enough to drink."

  "Not legally."

  "A Coke then," Mr. Mansourian threw out, and swallowed so hard Paul could see his Adam's apple bob.

  Out in the auditorium, Paul's mother had indeed taken her place, in row twenty-two of the orchestra. Left of the aisle: Paul had told her that real music people always sit left of the aisle, so they can see the pianist's hands. Having draped her coat over the seat in front of hers, she was now scanning her program with a red-lacquered fingernail.

  "No, it doesn't mention him anywhere," she said to Clayton Moss, who, along with his wife, Diane, had escorted her to the concert.

  "I don't think it's customary," Clayton said. "I mean, I've never seen a page turner listed in the program. Diane, have you ever seen a page turner listed in the program?"

  "Not that I recall." Diane was rummaging in her purse. "Anyone care for gum?"

  "Did you realize that Kennington made his debut when he was fourteen? Fourteen! And put out his first record when he was sixteen!" said Clayton.

  "But it's ridiculous! No thanks. I mean, they list all sorts of people—hall manager, stage manager. Why, the page turner's much more important than any of them. The pianist needs the page turner."

  "Personally, I couldn't agree with you more," Diane said. "Personally, if it were Teddy up there, I'd be livid."

  "Fourteen years old, and on a concert stage," Clayton said. "I wonder if that's right, in the end. If it damages a kid."

  Pamela was thinking she might write a letter. She had written a letter the year before, when Paul had been disqualified from the youth concerto competition ... not that it had done any good. No one cared what a mother had to say.

  Pushing a fringe of hair from her eyes, she snapped open the black purse that rested on her lap. An odor of L'Air du Temps wafted from the aperture. Extracting a tissue, she dabbed at her lips.

  "Sure you don't want some gum?" Diane asked. "A caramel? Cough drop?"

  "Probably you think I'm just being silly. No thanks. But what can I do? I'm so proud of him. I mean, he's good, really good. I know you haven't heard him, Clayton. Still—"

  "I've always said, if there's one thing I admire about Paul Porterfield, it's his stick-to-itiveness," Clayton said. "Especially when you consider most of these kids, with their Internet and who knows what. But Paul! Now there's a horse of a different color. I always tell Diane, that boy knows what he wants. He's disciplined, ambitious. He could be the next Van Cliburn."

  "By the way, is Paul going to the Optimists' Club awards dinner this year?" Diane asked. "Teddy went last year and loved it."

  "No, he's not," Pamela said frostily, and fixed her gaze on the empty stage. Optimists' Club indeed. It sorrowed her to have to keep company with people like the Mosses, who showed such little insight into the creative mind. Whereas Pamela, though possessing no creative talents of her own, at least recognized genius when she saw it; indeed, had recognized it the first time she'd heard Paul tap out a tune on the piano, the week before his fifth birthday. Even then, he'd been grasping for euphony.

  She rubbed her eyes, tried to block out the fresh, intrusive memory of Diane's voice. She didn't like having to go to concerts with the Mosses, but there it was. She was not one to do things alone, and Kelso had refused. "So what if he's page-turning?" he'd said. "When he plays, I'll go." Kelso, in her view, was unforgivable, and yet his absence at least afforded her the relief of not having to worry about his falling asleep.

  An enormous man with a shiny bald head now made his way to the seat in front of Pamela's. He looked at her coat, his ticket, her.

  "Madame, is this yours?" he asked, indicating the coat.

  "Oh, is that your seat? Sorry." She gathered it up.

  Snorting, the man sat down. Immediately the back of his immense head supplanted the piano. In that unfortunate way of bald men, he'd grown what few hairs he had very long, then brushed them forward over his scalp.

  Now if Clayton were a gentleman, she thought, he'd offer to trade places with her. But clearly Clayton wasn't a gentleman because he didn't do anything. Which was typical. Nothing ever worked out the way she hoped. Even so, she wouldn't have dreamed of asking Clayton to change places with her, both because she was too proud and because in truth she rather relished the prospect of a little public suffering.

  The hall lights dimmed. Immediately the buzz of audience chatter shrank to a whisper.

  "It's starting!" Pamela said to Clayton, and craned her neck to see. Aside from the piano and Kennington's bench, the stage's only occupants were three chairs and two music stands. Presently, no one joined them. Had the dimming been a false alarm? The collective held breath of the audience tautened as the seconds passed. It was as if an immense bubble were forming over the auditorium. Then some people stepped onto the stage. Applause popped the bubble, applause that had as much to do with relief as enthusiasm. The cellist came first, chubby and pink, his face framed by coarse curls. Next followed the violinist, a dark woman in a black skirt and leotard. When she bowed, her body went limp like a rag doll, her hair, as lustrous as the piano itself, fell forward and nearly brushed the floor.

  Finally there was the pianist. A younger man than Pamela had expected, he appeared distracted, as if it were just dawning on him that he was in a public place. Pushing through the applause as if it were foliage, he moved to his bench. Paul, trailing, took the chair at the piano's left, then settled the score on the desk.

  While the cellist and the violinist opened their own music, the pianist whispered s
omething to Paul, in response to which he took off his watch and stuffed it into his breast pocket.

  "Look at him!" Pamela nudged Clayton with her elbow. "Oh, but his tie! He must have fiddled with it."

  "It's fine, Pammy."

  The bald man turned. "Ssh!" he said, and Pamela colored. He opened a score over his lap.

  Closing his eyes, the pianist clasped his hands for a few seconds, as if in prayer, then, when the theater was silent, nodded to his partners, who nodded back.

  They began to play. As for Pamela, very quietly she scooted forward and pressed her knee against the back of the bald man's seat. He raised his head. A vein pulsed behind his ear. Serves him right, she thought, folding up her coat.

  It was toward the end of the Tchaikovsky (and of course it had to be Tchaikovsky) that Kennington, much to his chagrin and surprise, began to become aware of Paul; that is to say, aware of him as more than just a black arm that shot forward every time he neared the end of a page, held the corner steady between thumb and forefinger, and in response to the subtlest of nods, with sparrowlike swiftness, turned it. Invisibility is an asset in any page turner: on stage, he must efface his presence as much as possible, make it seem as if the sheets are flipping of their own accord. And in terms of unobtrusiveness, Paul was faultless. He never turned a page too late or too early, never sniffled or shook his leg. Yes, the watch had been a mistake, but this Kennington forgave, attributing it to inexperience. In any event Paul had taken it off as soon as he was asked to do so. And still, even without the watch, Kennington found himself growing conscious of Paul, of his slightly parted legs, the folds of black wool at his crotch, the white shirting where his jacket fell open; indeed, so distracted was he that when the Tchaikovsky ended, and the boy, well versed in the ways of page turners, gathered up the scores and stood aside for him to pass, Kennington hurried backstage and headed immediately for the water cooler. Even at this distance, Paul's heavy, almost medicinal odor prickled in his throat.

  When the houselights came up, he asked if there was someplace he could go by himself. He had a headache, he said. The stage manager led him to an empty dressing room, where he sat before a scratched and battered table, the lights off, his fingers on his temples. Unlike Izzy Gerstler, he was not an experienced libertine; nor was it his habit to be driven to dementia by page turners. And yet something about Paul's nervous meticulousness, his good manners, the razor-sharp part in his hair, alarmed Kennington. He could not say why, exactly. Perhaps it was the degree to which Paul seemed an echo of himself, years earlier. (As a boy, making his first tournée of Europe, he too must have given off that musk of animal discomfort.) Also the tingle of unexpressed need that now clung to Kennington's suit, picked up like static electricity from a wall socket.