Women and Men

by Joseph McElroy

  So was Miriam why you came? (smile)—father Jewish but mother P.R. (is Miriam Catholic then?), did the father go to Israel? what did Miriam think of your speeches, Foley, through the playground fence? what does she want out of life? (that question you asked didn’t ring true, Jim, yes? but you’ll never master the deeply dumb question Shin the Cambodian asks, like (one on one) Write down the three (or four) heaviest influences that made you what you were at eighteen—) such overly specific "things" prove obstacles to real sharing but for a person in your line of work, you don’t interrogate, you wait—is that what you do?

  Miriam, Miriam, you can call her my other half if I had an extra one— Miriam came toward me as if she didn’t see me, she’s walking across my view, her arms swinging at her sides so slowly I would have watched the century out except she was also coming toward me and I had to watch out for her in that quarter also in the other screen where she was walking across and on bended knee I aimed a kiss at her she was going to walk out of sight if I didn’t switch my eyes to another view just as she was disappearing.

  Because there was my own voice answering the substitute teacher (What do you want to be?) I still want to be a rich burglar, and somewhere, not on either screen but in between clearer because of my speed back and forth between the screen where I didn’t find her telling how I should come to England where they had the best burglaries like treasure hunts like a team broke into the Goldsmiths and Silversmiths Association only to find in the safe not only all the jewels and watches but the keys to another G&S branch practically around the corner only to find, when they got there and broke in, the keys to a third branch, same shit, keys to an associate firm, number four. The class was laughing and the sound was like very great speed, I lost track and the calendar said it was the next day and the substitute teacher wasn’t there n’more and I was thinking I needed help getting over to England and back before they found I was gone.

  The obstacles had not been in me, Jim, I had put them out there in front and this continuum that seeing Miriam had left me had nowhere to lead until three days were past and Jackie who smiles a lot and makes you feel you were the guy he was waiting to meet had made my acquaintance observing that a lot of the guys were totally materialistic and I was admitted to the photography program. Admitted so unusually soon that I thought they were out to trip me up but I reached out to claim if not yet unseal the message of myself that had been waiting for me, knowing also that what Jackie would teach I already knew. And they did trip me up. And it might have turned a bad corner for me at that opening of my stay in this multiple dwelling which is far more than the state correctional system.

  Jackie—with Juan—in a tunnel new to me—said You want to take the last two on this roll, we’ll run it through now, learn by doing, O.K., George? And we did more than Jackie bargained for. And Juan especially. We passed a guy sweeping and we passed a plumber they knew who was going in the opposite direction, who raised his eyebrows, that was all, it was a long walk, like the prison is really the bigness of this space and you never get to see it. I let them tell me how to turn the shutter speed and roll the barrel. Then I did it my way.

  I focused and took the long corridor plus half of Juan’s head up close while Jackie said, You can’t get both, you got to find the optimum, I saw what he meant, and a guard called out down the tunnel behind me, "Where ya going?" and "Better get there," and without taking my eye from the viewer (an expensive camera) I drew back the lever advancing the roll, turned blindly and took a picture of the guard who didn’t like it any better than Jackie who said, "You belong to the shotgun school," but the point of my instruction was to come, Jim.

  In the darkroom, an eye on the second hand, an eye on the long strip in the tray-bath filled with what came from a bottle in a box called "Darkroom Graduate." For Juan the one-and-a-half-dozen frames time if not trouble obtained from taxpayers’ surplus income on which we here subsist though monks in their establishment have got it over us they can make a little wine downstairs and move it on the open market, yet if we grew the grapes our correctional wine might command as good a price as the inmate-therapists I have projected in Foleynomics who would work with outside patients by mail like the chess instructors also projected. One-and-a-half-dozen frames taken to be displayed to loved ones and all who care to look and those who read the paper where two or three shots will appear as a record of work made possible by conspicuous leisure, though not equal to the red-rimmed eyes that have viewed those tables of minimum subsistence wage equaling rate of exploitative surplus at one in the morning yet understood more than these, that in the last century a government could decree in the interests of employers that childhood ends at age ten or at the outside eleven—red-rimmed studies which prepare Juan he says for the struggle (though What about the parole board? I don’t say)—studies possessing a fair visibility here Inside while Outside the fourteen, fifteen grand earned and laid away to keep each profile here low if not void is funny money, Jim, I was able years later to explain it to Juan and in return—because effort is returned in this place, guys give and share, you’d be surprised, don’t underestimate us, guys who don’t belong here and guys who maybe do—Juan in return pictured for me his son, and his son’s cousin, Juan’s nephew, helping Juan’s little brother-in-law Manny get a new TV in a shopping cart up a hill from Broadway to Amsterdam at seven o’clock of a cold Saturday evening, I could see how Juan felt, he didn’t explain it, Juan’s kid holding the TV and pushing from behind, windbreaker, wool-lined leather gloves, baseball cap, sneakers with the laces tied).

  Which is just filling you in with a little future because Juan and me and Jackie didn’t seem to have a great deal of future on that afternoon three days after the rain vision and here we are in a place they promise you if you fuck up and Jackie is giving an hour of socially necessary labor to the collective phenomenon as the poem says whose author you know, a phenomenon which is, as he says, the human spirit, and but a few minutes of darkroom time had elapsed under the red bulb when—too warm in there—to the amazement of Juan, whose pictures all but two they were, and of Jackie with that broad, pale, about-to-smile face whose pupil I was and who with Juan’s permission let me agitate the film in its bath, agitating the film along the many-tracked continuum of day-night raised the dripping strip, skipped the rinse, and slid it into a waiting pan of hypo and before Jackie and Juan could stop the act which stopped the developing process—or express their surprise at what the haunted fingers had done—the growth of Juan’s negatives had been suspended and that was that.

  Dumb, you say? Not the coolest?

  You didn’t say (but you communicated these words in our way though you’re just beginning to be in touch with your own C.U. and told me in the friendliest tone that "Dreams don’t settle anything"). And—dumb? uncool?—I’d have felt your point like misery in the lower back or an itching far inside the ear or wanting to go on a long sleep-walk in the middle of the night or our old question What do I do with my life?—had not the Way come to me where it and I always were waiting for each other, the Way of using what I had always had, using those grownups scattering on the rainy beach, using the knuckles that had dropped me in the dream, using the rainwater that was to spread and leave the photo on my table dry and the metal bed in which I came to, using the basis of the electricity more than it itself that Miriam’s father accused the good witch her diminutive aunt one foul spring day of switching on when he could be seen approaching his string of garbage cans with an offering of trash—using the blood that ran upward into my eye and congealed on my mustache though none touched Juan’s darkroom fist as the reminder from a dream those two guys had no way of knowing about, that it wasn’t the knuckles’ fault no more than mine and while I thought what was in my eye was the red light of the darkroom when really it was blood that flowed upwards from my crooked nose I knew in a flash—clear as by instinct I knew the heels and soles approaching our lab door to be a guard who’d heard angry sounds—that I would tell Jackie and Juan what t
hey would comprehend and I would turn their measure of me (which at that moment would have been no truer than the guard’s measure of all three of us) to a finer bond intrinsic to what I’d just seen on those two negatives at the end and rescued.

  "I’m sorry I had to do that," I said to Juan, his back to me, shaking his head.

  They listened to me. I was way behind them in the mechanics of the camera, the tricks of film, not even a beginner, not started; yet I was way ahead, too.

  They could not see at first.

  "Wait, man, don’t let the light in!" Jackie called to the hand that gripped the door knob and that (far outside us as if beyond the very walls) said, O.K., what’s going on in there?

  But the hypo did its stuff, while the record was in my mind; and when the guard opened the door, I could use that light to show what I meant.

  They looked at what I meant. The guard, as I talked, I kept my face away from him; he’s in the doorway.

  "‘you say so, George," said Jackie, not smiling, after I had pointed out to their more normal eyes what had been seen by the camera.

  Was it a bright half-head (say, of a Puerto Rican iron-pumping Marxist) against a lighter corridor sharply sleep-patrolled darker in the three spots where there were lights? Not at all—only for those whose future is past.

  No, Jim, what was it? I almost don’t have the words.

  What was it? A moment of Juan’s true power a blur only to negative eyes that have to look ahead to that computerized correct flesh and bone and liquid—you know, Jim?—of our species’ face.

  But not blurred if we’ll only see.

  Juan’s power, then, caught at that moment that’s always waiting: between scattering we come from and dispersion we flow toward. Rain-dream material. But vision. No dream. So you don’t have to say, Dreams don’t settle nothing.

  So the blur, the beginning, of half Juan’s head was no blur, no beginning; it carried on what was there, the core of his force if he find it to live with it to use it (and even if he could not). I said to them that it was Juan’s power mingling with his total environment which was rough if you were not into it because with photography you were going to get your nice perspective and some old corridor. Here you had more.

  ("You see the stairs," said Juan, low. "Yeah, the hypo got developer on it," said Jackie. "Oh shit," said Juan, the guard was in the doorway at our backs.)

  I started to go on about him without designating him, that guard; but all but one of Juan’s immediate family had been on the film, and I had said enough, told what I had seen for all our sakes, leaving out just private stuff (they would think was just me not them). Here, I mean the shadow in my rain cage far below me wafting, budging, whatever it was doing with a blond silver shine about its eyes down there around the bed whose wood was growing from several points, I was fascinated to find that kid suspended in the particles of Juan’s power opened in the mass of light-sensitive stuff I had arrested the development of (smile) (you smile, you think I darken counsel by words without knowledge? true enough, Jim, as we will see a few days past this turning point)—the kid? you’ve guessed—the kid who swam out of the sun in under our raft. And now with the guard behind me and Juan’s power before me under the red bulb, I recalled ducking my head to keep an eye on that kid only to see him wriggling in the wrong direction back under the raft among the loose extra rope fat and slimy suspended here and there doubled and half-tangled near one of the anchor ropes that was taut through the murk.

  Then I knew what Juan was going to say, Jim, don’t ask how I remembered—it comes later. I had seen a mind, Jim, a suspension within that film paper, the very small pieces it was in at that time of my life— swamped but too dry: I knew Juan would say, "Where do you get this stuff, Foley? Was you up at Clinton?"

  Jackie laughed. He had not been smiling. I knew that through doing whatever it was with the great surface area of all the faceted particles increasing their area with each division that split the work and spread it far and wide, I had given those words to Juan who to this day doesn’t quite know the power of the Colloidal Unconscious to find him where he is, but is used by it, and not badly, Jim, for for all our waste of this power, it is always there, and always more.

  So much of this was the work of a moment.

  4’Auburn," I answered Juan.

  But the guard had spoken, he was the one I had taken a picture of, I didn’t see how he’d gotten all the way down here to where we were. "You on D Block," he said, question but no question.

  I turned halfway round and agreed; he asked me my number and I knew it.

  "You look at me," the guard said, and the murk of power when I turned to see it, knew I saw it in all its tangled shorts and sparkings.

  "You are not ready for this program yet," he said, "you don’t get into this program till you been around awhile."

  "Around?" I said—it hit me, but funny; was it the prison system or this particular facility where I was now hanging out?

  "It was cleared," said Juan quickly.

  Jackie had done the clearing, with the help of Charlie, who asked me my second day how he could help me settle in.

  "I said," the guard repeated, "you’re not ready for this program. What you got on your nose?"

  "O.K.," I said, "I’m not ready."

  "I said," the guard repeated, "what you got on your nose?"

  "Blood," I said, wondering where the blood in my eye had gone.

  "You hit him?" the guard said to Juan. "I heard you."

  "You see that developer," I said, nodding at a thing that looked like a giant microscope. "You’ll find a piece of my nose on it, I ran into it."

  "You keep your nose out of here till you get clearance," said the guard, who wanted to know how long we would be.

  Jackie said the film was still in the hypo. The guard said he wasn’t having us hanging around there and didn’t I have anything to wipe my nose with. He left.

  Juan told me the big thing was an enlarger.

  The guard opening the darkroom door had let Juan and Jackie see what I showed them. So after all you don’t know who you’re working for. The guard, who I get along with now because to the ear I am quiet and I read and sit looking at my pictures, was working for me that day and didn’t know it, or the part of that day that had such consequences for me. And I was working for Juan and Jackie though Jackie thought he was working for me and for Juan separately. And six months later the guard asked me if I got cleared for photography because that’s a good program to be in—they all know it is— but I said I decided against it. And that first and only day in the darkroom my work for Juan went almost to waste because he wasn’t ready; but there was the enlarger I hit my face on (smile), plus a with-the-grain something in what I tried to show Juan and Jackie, so that soon afterward Juan worked for me.

  ‘Cause you build up credit with guys in here, nobody tells you that you were loyal, you didn’t give a guard more data than he could handle (smile), you didn’t pay a little bit too much attention to a guy who knew you knew what was going on with him, nobody tells you your credit rating is good, but you know. Yet Juan did not know he was working for me, in what happened soon afterward; look, he was working for himself too but not as if he knew the work he had done for me, and was destined to help still more, months later, the night before a test he never took but would in my opinion not have failed.

  But you, Jim, who were you working for?

  I think yourself. Do we all? No, we do not, said Ruth Heard, who told us to figure what we were getting out of every hour we worked, which was confusing to kids, but I found it’s confusing to others, too.

  But doubts remain. Why don’t I know even now if the contact we made through the South American gentleman was by chance, or you meant it? He wrote to me, then he didn’t, then he did, then after Efrain got out the letters stopped again. I have told you how the South American gentleman, the Chilean economist, and I met diagonally across the counter in the Visiting Room one day late in ‘72 when my mother went
over to the sandwich machine and my father didn’t know what to say to me—can’t blame him—and was looking over at Smitty who had his eyes closed talking and his wife was leaning on her elbows and nodding her head, but on my other side this guy who was getting out the next month was talking to this well-dressed bald gentleman with a mustache who spoke with an accent and he had come with this guy who looked like some street dealer but outdoors-looking not in the city way in a brown leather coat, heavy slick hair, more like long black high Hawaiian, but it wasn’t black, it was like blondish brown toxic-tinted with your "dirty" look, and this guy, our mutual contact the South American economist, listened by looking off into space but at that moment toward me. Then he said, "We are of one mind there, but this company agent you know so much about was my friend whatever his political aim may be," and the slick guy in leather and with hands that might have belonged to someone else, they fitted him, they seemed discolored or speckled—when he interrupted, the bald, well-dressed man seemed to not hear and he nodded in a friendly way at me because I was looking his way, and he said that whatever it was was more than a matter of scrambling funds, it was how the parent company filtered rewards among subsidiaries and the way this changed local taxes, and he mentioned the word "Marxian" but suddenly he and I were talking and I, to say something, asked if he was a Marxian and he smiled; but before he and the other guy with the hands and the high, sort-of-throaty voice got up to go, the South American gentleman asked what Marx I had read, and we exchanged names and addresses, it was great, the guard standing below the dais where the desk is came over and told me not to mix up my visitors, though my dad was still there so I had an excuse to be there, and my mother came back with two sandwiches and asked what it was about and my dad told her, or thought he did, they all love rules, you know.