Читать книгу On Swift Horses - Shannon Pufahl - Страница 9

At the Heyday Lounge the horsemen think they are the only gamblers. They file in each morning, their shoes dusty and their pockets jangling with coins, like parishioners. They sit in a dark corner under a single blade fan, a plantation relic hauled from the lounge owner’s Southern home to this coastal city thirty miles from Mexico. Above them the fan has the look of salvage but it makes no sound, and though it keeps the flies from their faces and necks and midmorning cocktails they do not notice it.

Every weekday the men come. They speak openly because they believe the lounge owner to be simple—which is true—and Muriel, their waitress these long mornings, to be a woman and therefore incapable of both memory and complex reasoning. It does not help that she is young, that she looks like the empty plains she comes from, flat and open and sad. She and Lee, newly married, have been in San Diego only a few months and are learning slowly how to be modern, and though she has always worked it is fair that the horsemen take her for a housewife forced into labor by circumstance. They could not know from her wide shoulders and square waist and rural modesty that she had taken the bus from Kansas on her own, that she could play cards and drive a car, or that she’d left behind a house she owned outright, to come here.

So they wave their hands at her and call her sweetheart from across the room and order their drinks with pointed enunciation as if she were hard of hearing. Though she remembers not only their drinks but the clip of their mustaches, the red-rimmed dimness of their eyes, she writes the orders down on a notepad and hands the paper to the bartender. The horsemen are retired trainers from the furlongs at Del Mar or bookmakers for rich men in the coastal hills. A few are ex‑jockeys, burned out and overweight, unsure what else life might have to offer them. They talk as men do, confident and gently adversarial, about the coming race day, the horses off their feed, the jockeys with tapeworm, the cup and feel of the track. They set long odds and argue over them.

For a few months Muriel listens. She writes down their private speculations and begins to join their language to its objects. When her shift ends at two she walks toward the sea and takes a late lunch at a restaurant where she works a second job on the dinner shift. She sits in a booth in the corner and studies her notes and the previous day’s racing form. She might rise and walk then, along the rolling line of surf. She thinks of horses, and her mother, and the day she was married. As she walks she collects shells and beach glass and slips them in the pocket of her sweater. Before she returns to work she unfolds the pocket and dumps these same items back onto the beach, so all that’s left is a rim of sand in the pocket hem. At ten Lee walks to the restaurant from the factory a few blocks away and they go home together, arms linked like young lovers and not like married people, because they do not know each other very well.

THEN, IN EARLY DECEMBER, Muriel has a night off from the restaurant but tells Lee she’s working. In the drugstore across the street from the Heyday Lounge she buys a pair of sunglasses she considers ridiculous. They cover her eyebrows and half of her nose and make her look much older, like a woman in possession of a fortune or a married lover. She buys a sunhat and a thin scarf printed with flowers. She removes her sweater though her arms show and she worries they will burn in the low winter sun and make her sleep difficult. She takes a twenty-minute bus ride to the Del Mar Fairgrounds. The bus winds around Jimmy Durante Boulevard and from the windows of the bus she can see the grand entrance to the track, the high hedges and the waving flags. A statue of Bing Crosby, the track’s founder and financier, gleams hard and gold in the afternoon light. In San Diego in those days it was said that Crosby used the track to impress Grace Kelly, who hated horses but loved men. Muriel lets the bus wind back around to Camino del Mar and gets out to have a coffee in a diner along the beach. She smokes and looks around as if she is waiting for someone. Her shoulders are warm and the bridge of her nose sweats under the sunglasses. The sea is soft and cold-looking. From the beach several others watch as a woman wades out to the breakers and stops. Muriel thinks of her mother, who had told her about the shore at Galveston, where she had been once with a man Muriel knew was not her father. Her mother said the sea was smooth as a lake and brown, and that someone told her it was filled with jellyfish. Muriel watches as the woman at sea turns and lifts a hand to her forehead and seems to regard the shore in contemplation of some final leaving. It is a curious thing, being married, how Muriel must think of this odd afternoon errand as something done for both of them, an adventure Lee will share in one way or another. She had thought it would be difficult to lie to him but she found it easier than their daily recitations of the truth. She had expected for herself the same power her mother found in men. But she often finds her husband’s gaze embarrassing.

Finally she stands and walks up the seaside street and back across Durante. She passes the high hedges and the tall gates and walks past the turf club and the runs. At the turnstile she crowds in with another woman and two men. The warden in the booth waves them through. She climbs the stairs behind the three others and lets them break off in the stands. From this height she looks around. She is surprised by how many people are at the track and how many of them are drunk. The sailors clump together and slap each other’s backs. Their heavy white pants hang to their heels and they laugh and push back their vigorous hair. There are men in ripped shoes and young boys in bow ties and there are many other women too, Muriel is glad to see. She sits under the second-floor balcony in the shade and covers her hair with the scarf.

From the stands the horses are not what she imagined. They are tall and obdurate and only lightly controlled. A dozen of them are paced out and lined behind the gates. The field is looped first in grass then dirt, a third smaller track built for harness racing and unused. Across the field the stables are lined in courtly rows, and from this height Muriel can see the sharp shadows thrown by the palms, over the hot-walkers and the low-roofed stalls. The smell of the dirt and the stables and the wheaty smell of the grass are familiar to her, though from the sea comes a punkish wind. She has a gimlet and studies the racing form, thinking of the words she’s heard the horsemen use, the names of trainers and jockeys. She watches the men file to the betting windows along the aisle. For a long time she watches without seeing any woman approach the glass and she begins to worry that perhaps she is not allowed to bet at all. The horses rear in their gates. Their bridles clang against the gates and sound like vespers. Then the gunshot and the race begins. The men in the stands yell instructions at the huge dark horses in a language of violence rolled in with endearment—summer up, take it, ride that, brake baby. The dust and the noise are thrilling, and Muriel stands without thinking and watches the horses turn the track, the pounding of their hooves at odds with their agile speed. When the race ends the men rise and punch the air, then tear their tickets in half and throw them to the ground.

After the race the crowd calms. Muriel moves to the windows and the cashier does not look up and when she speaks he is not surprised. She plays two dollars on the next race, on a horse named Pastoral, whom the men at the bar called canny and somber. The odds are six‑to‑one and when the horse crosses a length ahead she is up twelve dollars. She can hardly believe it. She takes her ticket back to the man behind the glass, who smiles this time and counts out the bills. She drinks another gimlet and no one notices. She lets the next race pass and then she rises and leaves through the tunnel. She takes the bus back downtown, her money folded away in her purse. Lee comes to collect her at ten and they walk home together. By then the drink has come out of her and she is tired, her dress dirty with sea air and car exhaust. The wind off the ocean blows down the alleyways and makes her shiver.

Lee says, “You should have worn a sweater.”

She leans into him and his solidity is a fact that seems weighed against possession. He puts an arm around her and she considers the scarf in her bag, which would warm her. Though he would make nothing of it, she does not want him to see it, it is too much a part of the day.

Across the street a barbershop is closed but still lighted, a man sweeping up, his silent figure inside the fluorescence like an image on a screen. By the door of the shop a boy of seven or eight is still out at this late hour, throwing rocks across the empty street in some game of his own devising. When he sees them he comes forward with his hand out. Lee looks at her and then at the boy and makes a gesture meant to indicate penury. The boy turns to Muriel and she sees the fox in him and he knows she sees it. He starts to sway back and forth and then to dance. His pockets are full of rocks and they make a sound like dice. Then the sweeping man disappears into a back room and the shop lights go out and they are suddenly alone with the boy. In the dark street he lifts his knees high and slaps his little palms against them, and though he does not sing he seems about to. He holds Muriel’s gaze and she laughs and pulls her purse up and brings out a quarter and hands it to him. Lee reaches out for her arm but does not stop her. The boy takes the coin and gives a look to Lee, who says to Muriel, “Oh for heaven’s sake,” in the embarrassed way his Lutheran mother might have said it, if he’d ever known her. The boy turns from them and dances back to his post at the curb; Muriel thinks she will remember him a long time, as the recipient of her good fortune.

In the hallway of their boardinghouse Lee stops to call his brother from the shared telephone. Most often Lee does not reach his brother but tonight he does. Muriel listens to his quiet voice on the phone, laughing and then pleading, the way he is even when Julius is merely mentioned now, an older sibling’s curse, to envy the freedom of the younger man and also believe he will suffer from it. It is the same voice he used in the street and he would use this voice on her again, if he knew. And if she took him to the track he would not understand, he would scowl at the dirty men and the fragrant, snorting horses.

THE MORNINGS in San Diego have a particular tang, the ocean air sweetened by the drift of tanker fumes. Muriel and Lee are among the many thousands arriving each month, husbands and wives but mostly just men, bright with Western promise and their own survival, back from the Pacific. In general a masculine city, Muriel thinks, sailors and black ships and swirls of oil in the ports. The coastal hills cut a jagged line at the horizon. The great fig tree in Balboa Park spreads its roots like an apron of snakes.

At night when it is dim and she is tired she often mistakes the waving surface of the bay for wheat, and this she prefers to the sea, the low intimation of the Plains glimpsed sidelong. Days when they are both off work they walk together through town and along the thoroughfares, collecting cans and bottles for the junkman. South of Balboa Park the interstate is being pulled through by cranes and paddle scrapers and a hundred men a day on the iron trusses. Often the two of them stand watching for long moments as Lee narrates the freeway’s path, through La Jolla and Oceanside and all the way to Oregon. A second highway crosses the first and runs east all the way to Ohio, passing through the open country they left behind. These routes will isolate the naval station and the ports, and the dark district by the railyard where the sailors take their leave, and the locals speak of this as a blessing, a cross over something vague and unseen that the future will not accommodate.

Inside this new grid the city widens up and out, over the coastal hills and north to the mesas, networks of tract housing all the way to Birdland. Lee wants a half-acre in Mission Valley, on the San Diego River, where they can build a three-bedroom and plant fruit trees. He has pinned the advertisement above the window in their kitchenette. When he and Muriel sit up late smoking and playing cards he tells her about the narrow valley, once settled by missionaries and then by nut and dairy farmers, now divided into lots graded flat and grassless. Sometimes he stands and goes to the little window and touches the pastel houses and the long furrows of cypress trees, and though he sighs dramatically and smiles Muriel knows he is not joking. She knows that he imagines her there in a real kitchen and a real bed. He believes the great future will meet them, in the new suburban landscape. They could prod that future along if they sold her mother’s house in Kansas, but Muriel will not yet consent to it. When Lee asks she says she isn’t ready, and if he worries why that might be he doesn’t say so. The truth is he doesn’t need her permission but he wants it.

It is 1956 and Muriel is twenty-one years old. Old to be starting a family, but she had waited almost a year to marry Lee and refused for a year before that. She had thought she could live as her mother had and then her mother died. Her mother had been the first woman in Marshall County to own a car, an eight-hundred-dollar Chevrolet she won in a department store raffle. She was Catholic but would not attend any Mass where the women weren’t allowed to wear pants, which left one church on the north side of Topeka. Every weekend they left Muriel’s stepfather in Marshall County and drove a hundred miles to hear the Mass in slacks. They stayed Saturday night in a motel by the highway and washed their faces and their scarves in the sink and rose early the next morning. After church they ate at a seafood restaurant across the street called Lucky’s. When rain filled the gutters they jumped from the street to the curb in their flat church shoes and stayed another night while the weather passed. Later, Muriel’s mother was the first woman in Marshall County to get a college degree and then a divorce. She died at thirty-six, a month before Muriel’s nineteenth birthday. When the paper reported her death they said that she was married and that she’d died at home, neither of which was true.

That Christmas Lee came home and brought his brother, whom she had never met. Both men owed another year to the navy and they’d agreed to pool their discharge pay and build a house in California when it was all over, but Lee took the leave when she asked. She hadn’t written him in months though she had received letters almost weekly. She wasn’t sure what she wanted from him. He and his brother hauled in to Long Beach and spent five days on a bus through the snowy mountains and arrived on the last Sunday in Advent. It had been just four months since her mother died.

The day the men arrived Muriel and Lee made love on top of the covers with the weather radio on. It was a balmy winter, rainy and with little snow, and even with the radiator off and fingers of steam reaching across the windows they sweated in their underwear. She asked him to wear a condom—a tube of lambskin she’d bought the week before, both weighty and soft, like an elbow glove—and he’d asked her again to marry him, this unsuperstitious Catholic girl living alone in her dead mother’s house.

While they lay together Julius returned from an errand in town and came into the yard and saw the pulled curtains and the fogged glass. He took off his heavy jacket and boots and his shirt and he lay down in the damp grass under their window. When Muriel opened it to smoke, as Lee wet his face and hair in the bathroom down the hall, she saw Julius lying there, bare-chested, staring at the window above. She startled, but being a woman generally unafraid of men, she cocked her head curiously at him. He raised one hand from the ground in a funny little wave.

“Toss one of those down to me,” he said.

Muriel hesitated but sensed in his receptive pose someone merely curious. The cigarette fell limply and landed on his shoulder. He reached across and took the cigarette without sitting up and placed it between his lips, then feigned checking his coat pockets by patting the sides of his bare chest.

“And now a match,” he said.

Muriel began to laugh, then covered her mouth so Lee would not hear. She dropped the matchbook out the window and Julius caught it and lit his cigarette and his smoke began to wind along the side of the house. He lay smoking and smiling and then with one prone hand he tried to toss the matches back up to her. Each time they fell back to the ground comically.

“I guess I’ll have to return these later,” he said.

They looked at each other a long moment and then Muriel became embarrassed and stubbed her cigarette out on the window sash and ducked back inside.

That night they stayed up with a bottle of rice liquor and Julius told jokes about Eisenhower and Protestants. Neither he nor Muriel mentioned his bare chest or the rain on his skin. He told them about Korea, about the landscape paintings he had seen burning there, stacked so that mountains burned through mountains, rivers melted onto ocean waves curling up like hair, and he said it must be like how the world began. When they were very drunk they went out and walked into the shaved wheatfield and lay under the winter sky. It was Christmas Eve. The men talked of their father and California and between them Muriel felt included in a deep understanding. Later, as Lee slept, she and Julius played cards and talked and though soon they were too drunk to make much sense she remembers the snap of the cards on the table and an alertness to her dead mother’s proximity. Julius told her about a man he knew years ago, before the navy and the war, who sold rabbits in town. The man bred them in a hutch lashed to the bed of his pickup, Julius said, each night stopping somewhere near a park or a wooded lot so as the rabbits slept they might hear the sounds of their brethren, of their own country. Curled in the cab of the truck the man slept under blankets made of rabbit fur. He was the rabbit man, Julius said, he wanted to be one of them. He had the thickest hair you ever saw, and a little nose like a rabbit, and big brown eyes.

The man drove all over town, to fairgrounds and schoolyards and to the flea market downtown, offering everywhere some different price for the rabbits, depending on how he felt about them. One day you’d see him, Julius said, and a three-pound rabbit he was snuggling in his arms would cost fifteen cents, then the next day it’d be up to fifty, because the thing had held his gaze for a full minute in a way he thought of as romantic, then that same unsold rabbit would do something terrible, like scratch his arm all up or fight with another rabbit, and the price would drop again to almost nothing. You see, it was his affection that drove that particular economy, and for that reason he made so little he had to sell his truck and all his rabbits, and I heard he wound up working in a gas station, like anybody else. But oh, he was still handsome as all get-out.

Julius leaned across the table in feigned amusement and showed his missing tooth when he smiled and Muriel smiled back at him. In the look held between them was some acknowledgment though Muriel did not know what the story meant. She had never heard a man talk this way about another man. She felt she was hearing a riddle.

“He didn’t live anywhere?” she asked.

“He lived in that truck.”

“So how did you know him then?”

Julius did not answer. Instead he reached out and held her hand for a moment and turned it over palm up then dropped it. She thought about his chest rising and falling and the rain on his skin and the way he’d looked up at her. Then he picked up the cards and shuffled them and dealt and did not say much after that.

In the morning Lee banged coffee cups in the kitchen and mended things in the house that she did not know how to mend and she agreed to marry him after all. Because she was orphaned and alone, but also because of Julius, who had made her feel that the world was bigger than she had imagined and because Lee, in loving his brother, became both more interesting and more bracing. She knew her mother would not approve but her mother was not around to say so. She sold first the car and then the furniture. Her mother’s clothes she left boxed on the porch for the Lions Club. She bought the bus ticket and paid the tax board for the year and with what little was left she paid the Carter boy down the road to insulate the pipes and till up the lawn and cover it over with gravel to keep the grass from overgrowing. She sent the same boy home with her mother’s houseplants and hoped for the best. She told Lee they’d keep the house because that’s what her mother would have wanted and Lee did not argue with her. That she would get to California and find Julius gone was not something she considered.

THE FIRST TIME is a transgression. The second is a strategy. After work, Muriel takes a quick lunch down the street and emerges from the café transformed, her dress balled in her purse, wearing now a pair of loose slacks and one of Lee’s striped dress shirts, the low-brimmed hat over her hair and the big sunglasses. She gets off the bus a stop early and walks the last half-mile to Del Mar. She does this once a week, then twice. Depending on what she’s heard that morning she bets a quinella or a box or a place, at first on just one race and then on three or four. She does not always win. Sometimes she deliberately lays money on a horse the men have said is lame or sick in the head, or on a jockey they’d seen drinking rum with young women the night before. When she loses those races she feels a sense of power she never gets from winning, because losing proves the accuracy of her judgment. It has the benefit, too, of concealment. As long as she is not seen by the men at the lounge—who, she thinks, have never actually looked her in the face and would not recognize her even if she introduced herself—she feels she may engender any speculation she wishes except that she is cheating.

It comes to her naturally. From the horsemen she learns a vocabulary built from idiom and double entendre—silks and shadow rolls, tongue straps and hand rides—and the rest she learns by instinct. She learns what it means when the track is cuppy, when a horse is washy or ridden out. She becomes familiar with the anatomy of horses, croup and neck, muzzle, cannon, hock, loin, as if she had run her hands along each and felt what they were made of. She begins to think of the landscape differently, as if the horses themselves have given it names. The hills and the lowtide terraces are sorrel, dapple-gray. The round, unburdened trunks of palm are chestnut in the coastal light, light that’s blood bay or buckskin depending on the weather, cast high and cloudless over the roan sea.

She is stopped sometimes, at work or waking in the mornings, by a poignant feeling. The feeling is like happiness but it comes so slowly and is so austere she might easily mistake it for grief. She could not explain it but she knows this feeling has something to do with keeping a secret from Lee, which she had somehow always felt she was doing even before she had a secret to keep. It has something to do with wherever Julius is and what her mother would think of all this. If she were a different kind of person she might have wondered whether love was always this way, if it existed in the spaces between people, the parts they kept strange to each other. She tapes the money inside a white envelope, on the underside of the lazy Susan, a place her husband will never look and may not even know is there.

A FEW DAYS BEFORE Christmas they borrow a Lincoln from Lee’s boss to see the lights at the Del Mar Fairgrounds. Neither has seen Christmas lights before. At the fairgrounds they go on for miles, roped lights in the shape of trees and hills of snow, illuminating the space around them and the horizon in each direction, like a city gone nuclear. The cars line up with their headlights off and wind through the new world. Those with radios tune to a station playing Christmas songs. Lee turns his broad face to her as they sit idling in the line of cars. His is a simple amazement, the way his eyes become bright and focused when something small and unmiraculous makes him happy. If she had not heard his stories of the war or the privation of his childhood she might think him a savant or an innocent, someone inured to pain or ignorant of it. He seems unchanged by the sea or the city. She knows that even strangers recognize this immutability in him, that they see it as heroic. For a moment she considers telling him about the horses, because she envies the smallness of his joy. She is able to imagine that he would not care how she came by the money, only that she had it.

“To think this time last year we were in Kansas,” Lee says.

The racetrack lights are off but she can see the dark palms rising above the stables, just ahead. Lee leans across the bench seat and over Muriel’s handbag to kiss her. She thinks how quickly it had all happened. On the radio the Jackie Gleason Orchestra plays “I’ll Be Home for Christmas” like a dirge. Car horns bleat behind them and Lee laughs and pulls away from her and drives on. The palms move in gray contour against the winter sky. Of course there is no snow but the lights throw shadows on the ground in metallic circles that trick the eye. She hadn’t known the trees would be so lovely in the dark or that the track would be so close.

“You know,” he says then, “it ain’t like we have to wait for him, if that’s what you’re thinking.”

“You’ve said that before.”

Lee shakes his head.

“It was your plan to come here. You two,” she says.

“But it’s just us now.”

“He’s just stretching his legs. It was a long time you were overseas.”

“It ain’t shore leave, now.”

“It’s only been a few months.”

Lee sighs. The music snaps out and is replaced by static, then another station breaks through. That station plays a bandstand number too loud and ends the conversation. Lee reaches over and cups her knee and drives on.

Back home they kiss for a long time until Lee leans back and looks at her softly and lets his hands rest on her arms. He waits a moment. This part of lovemaking Muriel finds stifling and inelegant, though she could not say exactly why. She does not know if he wants her consent or her desire but either way she wants to refuse him, simply because he asked. She looks away and knows he will read this as demure. He kisses her neck and brings his arms around her again. Her secret makes her more aware of his deference. She thinks of what it will feel like in another few minutes when he is inside her and how straightforward this feeling is. She’d like to skip ahead to that moment. Beyond his shoulder the perfect flat wall of the bedroom catches their shadows. The window is open and the noise of traffic and other lovers and construction and children and cooking is the noise of a city breaking into itself. A man calls out the name of their street and another that crosses it and a second voice calls back. Of course the men are not in the room or even near enough to see, but like the cars and the birds and the backhoes their voices become part of lovemaking, and it occurs to Muriel that she might like this noise and the cover it offers.

Later, they lie together a long time. The supper hour has come and gone and the city has quieted. The phone in the hall rings a long time before Lee finally rises to answer it. Muriel hears him wish his brother a happy Christmas and say that they should be together, that Julius should come soon. Muriel stands and goes to the window that looks down into the alley between their building and its twin. She can feel the cold outside the window against her bare skin. She lights a cigarette and lifts the window. The streetlight falls into the alley and over the dry bricks and a few birds fly soft and quick across the entrance and toss small hand-shaped shadows against the alley wall. She recalls a boyfriend her mother had, sometime in the forties, who sold lightbulbs door‑to‑door. To persuade housewives and old widows, he cast against their walls the silhouettes of butterflies and rabbits and men in tall hats. After dinner, in those few months her mother loved him, that man taught her to twist her fingers into cheerful creatures. He had been kind, slimly built. The bulbs he sold made bluish light and glowed through the flesh of his hands. For a moment she thinks that man must be sitting somewhere against the wall of this alley, making birds with his fingers. In the hallway she hears Lee ask his brother if he needs any money and then his long sigh.

THE NEW YEAR comes and the weather hardens. Muriel adds more and more of the winnings to her tips and blames the extra money on holiday cheer, on the business brought in by the last of the men back from Korea. Lee folds the bills into eighths and stores them like hock in a coffee can. On Sunday nights he counts them out. Then, as the fairground lights on the racetrack’s edge disappear, as spring comes, the horsemen begin to lose and Muriel does too. At the lounge the men sit grimly late into the day. They wonder if they’ve lost the touch. They worry they’ve misread all the signs. The feel of the track has left them, perhaps as punishment for their arrogance. They have no feel for jockeys and turf conditions, no joy for horses at all. They spit on the floor and smoke cigarettes until the fan above merely pushes the smoke back and forth, like a machine for making waves.

They have had all these conversations before but Muriel doesn’t know that. In this new reality she becomes reckless, betting conspicuous amounts on odds‑on favorites for little gain, just to remember the feeling of winning. She comforts herself by thinking she has solved the problem of her dishonesty. In the lazy Susan there is less than two hundred dollars; a few more weeks of padding her wages and it will be gone. She feels determined to lose the rest of it, as a kind of retribution or for the sake of some strange neatness. She thinks the word, neatness, as if she is tidying up the kitchen or ironing a dress.

Then the track is closed for two weeks. When it reopens, the turf is newly surfaced and smooth as hair. The horses have been traded out, some up from Santa Anita and others from the Canadian circuits, the jockeys rested and sweated out to make weight. On Fat Tuesday the races stretch through the afternoon and she drinks too much. She wins two races in a row and is flushed. Yet even with the drink she feels self-conscious and the crowd is tight around her. It is unusually warm and the track has been decorated with bunting and palm fronds tied into hearts and sprays like hands.

The last race is a special stakes and by evening the crowd has swelled. Women fan themselves with the palmhands and dab their temples with bits of ice. Muriel stands next to a woman from out of town, who tells her husband in an accented voice what to bet. Both Muriel and the woman have a decent bounty on a horse called Flood to win and they discuss his chances as the horses come to post. The horsemen have picked him, though they think he is too young and jumpy as a virgin. As the race begins, the foreign woman flicks Muriel’s arm with her fingers and winks.

“This is us,” she says, nodding to the track.

The horses burst free and the race comes together. Next to Muriel the woman bounces on tiptoe. When Flood wins by a length, the woman turns and puts a hand on Muriel’s shoulder and kisses her lightly on the mouth. The strangeness of this kiss makes Muriel laugh. Her mouth opens around the sound and her teeth scrape the woman’s big straight teeth—horse teeth, Muriel thinks, and laughs again. The woman laughs back at Muriel and Muriel can taste mint and whiskey on the woman’s lips. Had Muriel said it out loud, horse teeth? They both pull away. For a moment the woman’s eyes catch hers with a wince, then turn softer, turn down, and she raises her glass and jiggles the ice and mint and says, “Time to repent.” She licks her lips, then wipes them with her fingers. The horses settle with their pit ponies, the air heavy with the heat of their bodies, and the noise of the track returns. The woman’s husband fans his wife with his hat and asks if they have won. The woman does not answer him but looks again at Muriel and Muriel does not know how to look back at her. Then the woman turns to her husband and flashes her ticket and flicks Muriel’s arm again as she walks away. Muriel is careful not to watch the woman though she wants to see her full height, the shape of her legs.

She carries this desire to the bus stop and downtown, then through the streets with Lee, past the oblate sea and the colorful houses, stopping in a pub for a drink and another at home. They leave the radio on as they make love, Lee’s astonished face next to hers on the pillow, a soft fold in the dim light. Her tough man, undone. He says, Muriel, we should have a child. He whispers into her hair, Muriel, don’t ever leave me. She knows after these months together to expect this as she expects his deference, and so she lets him murmur, touches his temples and his thick eyebrows with her fingertips until he falls asleep. She is like a parent then, not resentful but protective. The bedside clock ticks on the nightstand and the sheets scallop at the edge of the mattress.

When he is fully asleep she takes the money from the inside of her shoe and puts it in the envelope in the lazy Susan. Suddenly it seems there is too much of it. She’d won not a third of her money back, but she has a feeling of great prosperity. She knows this feeling would please the men at the lounge. That they would say she’d cut her teeth. That in gambling there is a plateau, a period of time when progression ceases, when exhaustion sets in, and then the odds shift. You win and you are alive again. She could play another month or longer if chance runs her way.

LATER, THE PHONE RINGS and wakes her and when no one picks it up Muriel rises from the bed and steps quietly into the hall to answer it.

When Julius hears her voice he laughs so sharply she has to pull the receiver from her ear. She brings the phone back and says Julius’s name and finds she is grinning in the dark hallway. She asks him when he’ll join them and he says, “Oh soon now, not long.”

“You mean it?” she asks.

“You bet,” he says.

She asks him what it’s like in Santa Barbara or Ventura or wherever he is and he says, “Girl, you wouldn’t believe it,” and then he starts to sing a song about the badlands and how dark they are even in the morning. On his end of the line a siren spools out and when it stops she hears he’s still singing and she listens until he can’t remember the words and then she asks him if he’s been eating and how the weather is and anyplace they might send a letter. He asks if she’s been winning at cards and when she says she tried to teach Lee how to play hearts he says, “No trick-taking games, he’s not brutal enough for it. You better stick to war.”

Through the wall she can hear Lee snoring. In the kitchenette the radio plays the Grand Ole Opry. She slides down the wall smiling into her hand until she sits with her legs in front of her and her bare feet shooting into the hallway and disappearing into the dark. What a strange miracle to talk on the phone for no particular reason. They talk for ten minutes, then twenty, until Muriel begins to worry about the coins Julius is dropping for the line. She tells him he shouldn’t waste his money and he says it’s no waste at all but then he seems to remember his purpose and asks after his brother.

“He’s asleep and I’m out here in the hallway with my hand over the receiver.”

Silence on Julius’s line and then a clank of freight and men’s voices raised some distance away.

“We sure hoped you’d be here by now,” Muriel says.

“My brother hopes a lot of things.”

Muriel nods to the darkness.

“Don’t you think it’d be strange?” he says. “All of us together?”

“That’s what Lee wants though.”

“True enough,” Julius says, though she can tell he isn’t sure.

“I want,” she begins, but she worries she should not say the next thing. She is not sure what the next thing is. The dark hallway is silent and outside she can hear the traffic lights clicking. For a moment neither speaks.

Finally Julius says, “There’s sometimes lots of ways of getting to a place.”

She thinks of Christmas Eve and the story of the rabbits. His tone is the same, it seeks her approval for something. She wants again the feeling she’d had that night, of recognition. So she laughs. The line tosses back her laugh in delay and Julius says, “Well fine, what do you think then?”

“Oh now, Julius, it’s just the way you said it.”

“Maybe I will have to come there just to set you right.”

His tone is lighter but not quite kind and when she laughs again he says, “You think I wouldn’t.”

“You haven’t yet,” she says, and then he laughs too. Her face is hot and she wants a drink. She thinks that no matter what else is true about Julius he loves his brother, and because he loves his brother he is also obliged to her. She had come all the way out west knowing this. And if he knew about her or about their life without him he might come along finally too. So she tells him about the horsemen and the notes she’d taken and how she’d run their advice both ways to see if it worked. For a moment he doesn’t say anything. She worries the whole thing will lose its sweetness, in the open air between them. Then he laughs, asks her what her favorite kind of horse is, guesses geldings in a teasing voice. He means it cutely but she’s disappointed. She can tell he doesn’t believe her. Aloud it is hardly believable.

“No geldings there, Julius,” she says.

“That’s a nice racket for a gal, though,” he says.

“Oh, but it’s just a whim,” she says, to take the sting out of the moment.

“Careful now. Might be one of them things you can’t ever get enough of,” he says, but he’s still kidding her. The operator rings on and asks for another dime and Julius searches his pockets and comes up empty. The line goes dead and Muriel sits a long time with the receiver in her lap and the dial tone chiming. She hears Lee’s snoring and the pipes laboring in the wall and the radio in the kitchen plays “Walking the Floor over You” and then “Goodnight Irene.”