Report From the Interior

by Paul Auster

  Forgive others, always forgive others—but never yourself. Say please and thank you. Don’t put your elbows on the table. Don’t brag. Never say unkind things about a person behind his back. Remember to put your dirty clothes in the hamper. Turn out the lights before you leave a room. Look people in the eye when you talk to them. Don’t talk back to your parents. Wash your hands with soap and make sure to scrub under your nails. Never tell lies, never steal, never hit your little sister. Shake hands firmly. Be home by five o’clock. Brush your teeth before going to bed. And above all remember: don’t walk under ladders, avoid black cats, and never let your feet touch the cracks in sidewalks.

  You worried about the unfortunate ones, the downtrodden, the poor, and even though you were too young to understand anything about politics or the economy, to comprehend how crushing the forces of capitalism can be on the ones who have little or nothing, you had only to lift your head and look around you to realize that the world was unjust, that some people suffered more than others, that the word equal was in fact a relative term. It probably had something to do with your early exposure to the black slums of Newark and Jersey City, the Friday evenings when you would make the rounds with your father as he collected the rent from his tenants, the rare middle-class boy who had a chance to enter the apartments of the poor and desperately poor, to see and smell the conditions of poverty, the tired women and their children with only an occasional man in sight, and because your father’s black tenants were always exceedingly kind to you, you wondered why these good people had to live with so little, so much less than you had, you so snug in your cozy suburban house, and they in their barren rooms with broken furniture or barely any furniture at all. It wasn’t a question of race for you, at least not then it wasn’t, since you felt comfortable among your father’s black tenants and didn’t care whether their skin was black or white, it all came down to a question of money, of not having enough money, of not having the kind of work to earn them enough money to live in a house like yours. Later on, when you were a bit older and started reading American history, at a moment in American history that happened to coincide with the flowering of the civil rights movement, you were able to understand a good deal more about what you had witnessed as a child of six and seven, but back then, in the obscure days of your dawning consciousness, you understood nothing. Life was kind to some and cruel to others, and your heart ached because of it.

  Then, too, there were the starving children of India. This was more abstract to you, more difficult to grasp because more distant and alien, but nevertheless it exerted a powerful influence over your imagination. Half-naked children without enough to eat, emaciated limbs as thin as flutes, shoeless, dressed in rags, wandering through vast, crowded cities begging for crusts of bread. That was the vision you saw every time your mother talked about those children, which never happened anywhere except at the dinner table, for that was the standard ploy of all American mothers in the 1950s, who incessantly referred to the malnourished, destitute children of India in order to shame their own children into cleaning their plates, and how often you wished you could invite an Indian child to your house to share your dinner with you, for the truth was that you were a picky eater when you were small, no doubt the result of a faulty digestive system that afflicted you up to the age of three and a half or four, and there were certain foods that you couldn’t abide, that made you ill just to look at them, and each time you failed to finish off what had been served to you, you would think about the boys and girls of India and feel riven with guilt.

  You can’t remember being read to, nor can you remember learning how to read. At most, you can recall talking to your mother about some of the characters you were fond of, characters from books, books she therefore must have read to you, but you have no memory of holding those books in your hands, no memory of sitting beside your mother or lying beside her as she pointed to the illustrations and read the words of the stories out loud to you. You cannot hear her voice, you cannot feel her body next to yours. If you strain hard enough, however, closing your eyes long enough to put yourself in a kind of semi-trance, you can just barely manage to summon up the impact certain fairy tales had on you, in particular “Hansel and Gretel,” which was the one that frightened you most, but also “Rumpelstiltskin” and “Rapunzel,” along with dim recollections of looking at pictures of Dumbo, Winnie the Pooh, and a little dalmatian named Peewee. But the story you cared about most, the one you still know more or less by heart, which means that it must have been read to you many dozens of times, was Peter Rabbit, the tale of poor naughty Peter, the wayward son of old Mrs. Rabbit, and his misadventures in Mr. McGregor’s vegetable patch. As you flip through a copy of the book now, you are astonished by how familiar it is to you, every detail of every painting, nearly every word of the text, especially the chilling words from old Mrs. Rabbit on the second page: “You may go into the fields or down the lane, but don’t go into Mr. McGregor’s garden: your Father had an accident there; he was put in a pie by Mrs. McGregor.” No wonder the story had such an effect on you. Charming and bucolic as the setting might be, Peter has not gone off on some lighthearted afternoon romp. By sneaking into Mr. McGregor’s garden, he is boldly risking his own death, stupidly risking his own death, and as you study the contents of the book now, you can imagine how intensely you must have feared for Peter’s life—and how deeply you rejoiced at his escape. A memory that is not a memory, and yet it still lives on in you. When your daughter was born twenty-four years ago, one of the presents she received was a china cup decorated with two illustrations from Beatrix Potter books. The cup somehow managed to survive the perils of her infancy and childhood, and for the past fifteen years you have been using it to drink your tea in the morning. Just one month short of your sixty-fifth birthday, and every morning you drink from a cup designed for children, a Peter Rabbit cup. You tell yourself that you prefer this cup to all other cups in the house because of its perfect size. Smaller than a mug, larger than a traditional teacup, with a pleasing curve around the lip at the top, which feels comfortable against your own lips and allows the tea to go down your throat without spilling. A practical cup, then, an essential cup, but at the same time you would not be telling the truth if you claimed to be indifferent to the pictures that adorn it. You enjoy beginning the day with Peter Rabbit, your old friend from earliest childhood, from a time so distant that no conscious memories belong to it, and you live in dread of the morning when the cup will slip out of your hand and break.

  At some point in your adolescence, your mother told you that you could identify the letters of the alphabet by the time you were three or four. You don’t know if this assertion can be believed, since your mother tended to exaggerate whenever she talked about your youthful accomplishments, and the fact that you were put in the middle reading group when you started the first grade would seem to suggest that you were not as precocious as your mother thought you were. See Dick run. See Jane run. You were six years old, and your most vivid memory from that time places you at a desk that was set apart from the other children, a single desk at the back of the room, where you had been temporarily exiled for misbehaving in class (either talking to someone when you were supposed to be silent or as a result of one of the many punishments you received because of your ineptitude at making mischief), and as you sat at your solitary desk paging through a book that must have been printed in the 1920s (the boys in the illustrations were wearing knickers), your teacher came over to you, a kind young woman with thick, freckled arms named Miss Dorsey, or Dorsi, or perhaps Mrs. Dorsey or Dorsi, and put her hand on your shoulder, touching you gently, even tenderly, which surprised you at first but felt ever so good, and then she bent down and whispered in your ear, telling you that she was encouraged by the progress you had been making, that your work had improved dramatically, and therefore she had decided to shift you over to the top reading group. You must have been getting better, then. Whatever difficulties you had encountered in the early weeks of the schoo
l year were behind you now, and yet, when you retrieve the only other clear memory you have held on to from those days of learning how to read and write, you can do little more than shake your head in bafflement. You don’t know if this incident took place before or after your promotion to the highest reading group, but you distinctly recall that you came to school a bit late that morning because of a doctor’s appointment and that the first lesson of the day was already in progress. You slipped into your regular seat beside Malcolm Franklin, a large, hulking boy with exceptionally broad shoulders who was supposedly related to Benjamin Franklin, a fact or non-fact that always impressed you. Miss or Mrs. Dorsey-Dorsi was standing at the blackboard in front of the room, instructing the class on how to print the letter w. Each pupil, hunched over his or her desk with a pencil in hand, was carefully imitating her by writing out a row of w’s. When you looked to your left to see how Benjamin Franklin’s relative was faring with the assignment, you were amused to discover that your classmate wasn’t pausing to separate his w’s (w w w w) but was linking them all together (wwww). You were intrigued by how bold and interesting this elongated letter looked on the page, and even though you knew perfectly well that a real w had only four strokes, you rashly decided that you preferred Malcolm’s version, and so, rather than do the assignment correctly, you copied your friend’s example, willfully sabotaging the exercise and proving, once and for all, that in spite of the progress you had made, you were still a world-class dunderhead.

  There was a time in your life, perhaps before six or after six—the chronology has blurred—when you believed the alphabet contained two extra letters, two secret letters that were known only to you. A backwards L: . And an upside-down A: .

  The best thing about the grammar school you attended, which lasted from kindergarten to the end of the sixth grade, was that no homework was ever assigned. The administrators who ran the local board of education were followers of John Dewey, the philosopher who had changed American teaching methods with his liberal, human approach to childhood development, and you were the beneficiary of Dewey’s wisdom, a boy who was allowed to run free the moment the final bell sounded and school was done for the day, free to play with your friends, free to go home and read, free to do nothing. You are immensely grateful to those unknown gentlemen for keeping your boyhood intact, for not burdening you with unnecessary busywork, for having the intelligence to understand that children can take just so much, and then they must be left to their own devices. They proved that everything that needs to be learned can be learned within the confines of school, for you and your classmates received good primary educations under that system, not always with the most inventive teachers, perhaps, but competent for all that, and they drilled the three R’s into you with indelible results, and when you think about your own two children, who grew up in an age of confusion and anxiety about pedagogical matters, you remember how they were subjected to grinding, unbearably tedious homework obligations night after night, often needing their parents’ help in order to finish their assignments, and year after year, as you watched their bodies droop and their eyes begin to shut, you felt sorry for them, saddened that so many hours of their young lives were being thrown away in the service of a bankrupt idea.

  There were few books in your house. The formal educations of both your parents had stopped at the end of high school, and neither one of them had any interest in reading. There was a decent public library in the town where you lived, however, and you went there often, checking out two or three or four books a week. By the time you were eight, you had acquired the habit of reading novels, for the most part mediocre ones, stories written and published for young people in the early fifties, countless volumes in the Hardy Boys series, for example, which you later learned had been created by someone who lived in Maplewood, the town next to yours, but the ones you liked best were novels about sports, in particular Clair Bee’s Chip Hilton series, which followed the high school adventures of heroic Chip and his friend Biggie Cohen as they triumphed in one closely fought contest after another, games that always ended with a last-second touchdown pass, a half-court shot at the final buzzer, or a walk-off home run in the bottom of the eleventh inning. You also remember a gripping novel called Flying Spikes, about an aging, over-the-hill ex–major leaguer trying for one last shot at glory in the low minor leagues, as well as numerous nonfiction works about your favorite sport, such as My Greatest Day in Baseball and books about Babe Ruth, Lou Gehrig, Jackie Robinson, and the young Willie Mays. Biographies gave you almost as much pleasure as novels did, and you read them with passionate curiosity, especially the lives of people from the distant past, Abraham Lincoln, Joan of Arc, Louis Pasteur, and that man of multiple talents, the ancestor or not-ancestor of your former classmate, Benjamin Franklin. Landmark Books—you remember those well, your grammar school library was filled with them—but even more engaging were the hardcover books from Bobbs-Merrill with the orange boards and spines, a vast collection of biographies with stark black silhouette illustrations interspersed among the pages of text. You read dozens of them, if not scores. And then there was the book your mother’s mother gave you as a present, which soon became one of your most cherished possessions, a thick volume with the title Of Courage and Valor (written by an author named Strong and published by the Hart Book Company in 1955), a compendium of over fifty short biographies of the gallant, virtuous dead, including David (defeating Goliath), Queen Esther, Horatius at the bridge, Androcles and the lion, William Tell, John Smith and Pocahontas, Sir Walter Raleigh, Nathan Hale, Sacajawea, Simón Bolívar, Florence Nightingale, Harriet Tubman, Susan B. Anthony, Booker T. Washington, and Emma Lazarus. For your eighth birthday, that same beloved grandmother gave you a multi-volume edition of the works of Robert Louis Stevenson. The language of Kidnapped and Treasure Island was too difficult for you at that age (you remember, for example, stumbling over the word fatigue the first time you encountered it in print and pronouncing it to yourself as fat-a-gew), but you manfully struggled through the less bulky Dr. Jekyll and Mr. Hyde, even if most of it went sailing clear over your head as well. You adored the much simpler A Child’s Garden of Verses, however, and because you knew that Stevenson was a grown man when those poems were written, you were impressed by how deftly and persuasively he employed the first person throughout the book, pretending to write from the point of view of a small child, and you understand now, suddenly, that this was your first glimpse into the hidden wheelworks of literary creation, the mystifying process by which a person can leap into a mind that is not his own. The following year, you wrote your first poem, directly inspired by Stevenson, since he was the only poet you had read, a wretched piece of dried-out snot that began with the couplet: Spring is here, / Give a cheer! Thankfully, you have forgotten the rest, but what you do remember is the happiness that rushed through you as you composed what was, and undoubtedly still is, the worst poem ever written, for the time of year was indeed early spring, and as you walked alone across the newly resurgent grass in Grove Park and felt the warmth of the sun upon your face, you were in an exultant mood, and you felt the need to express that exaltation in words, in written, rhyming words. A pity that your rhymes were so impoverished, but no matter, what counted then was the impulse, the effort, the heightened sense of who you were and how deeply you felt you belonged to the world around you as your pencil inched across the page and you eked out your miserable verses. That same spring, for the first time in your life, you bought a book with your own money. You had had your eye on it for some weeks or months before that, but it took a while for you to save up the necessary cash ($3.95 is the figure that comes back to you now) in order to walk home with the gigantic Modern Library edition of Edgar Allan Poe’s complete poems and stories. Poe was too difficult for you as well, too florid and complex a writer for your nine-year-old brain to grasp, but even if you understood only a small fraction of what you were reading, you loved the sound of the words in your head, the thickness of the language, the exotic gloom t
hat permeated Poe’s long, baroque sentences. Within a year, most of the difficulties had vanished, and by the time you were ten, you had made your next important discovery: Sherlock Holmes. Holmes and Watson, the dear companions of your solitary hours, that strange pair of Dr. Dull Common Sense and Mr. Eccentric Mastermind, and although you followed the ins and outs of their numerous cases with avid attention, what delighted you most were their conversations, the invigorating back-and-forth of opposing sensibilities, in particular one exchange that so startled you, so vehemently overturned everything you had been taught to think about the world, that the revelation went on troubling you and challenging you for years to come. Watson, the practical man of science, tells Holmes about the solar system—the same solar system you had struggled so hard to comprehend when you were younger—explaining that the earth and the other planets revolve around the sun in a precise and orderly fashion, and Holmes, the arrogant and unpredictable Mr. Know-It-All, promptly tells Watson that he has no interest in learning these things, that such knowledge is an utter waste of time and he will do everything in his power to forget what he has just been told. You were a ten-year-old fourth grader when you read that passage, perhaps an eleven-year-old fifth grader, and until then you had never heard anyone argue against the pursuit of learning, especially someone of Holmes’s stature, a man who was recognized as one of the great thinkers of the century, and here he was telling his friend that he didn’t care. In your world, you were supposed to care, you were supposed to show an interest in all realms of human knowledge, to study math as well as penmanship, music as well as science, and your much-admired Holmes was saying no, some things were more important than others, and the unimportant things should be tossed away and forgotten, since they served no purpose except to clutter one’s mind with useless bits of nothing. Some years later, when you found yourself losing interest in science and math, you recalled Holmes’s words—and used them to defend your indifference to those subjects. An idiotic position, no doubt, but you nevertheless embraced it. Further proof, perhaps, that fiction can indeed poison the mind.