White Noise Part 2

"I'm only telling you what they said."

"Just because it's on the radio doesn't mean we have to suspend belief in the evidence of our senses."

"Our senses? Our senses are wrong a lot more often than they're right. This has been proved in the laboratory. Don't you know about all those theorems that say nothing is what it seems? There's no past, present or future outside our own mind. The so-called laws of motion are a big hoax. Even sound can trick the mind. Just because you don't hear a sound doesn't mean it's not out there. Dogs can hear it. Other animals. And I'm sure there are sounds even dogs can't hear. But they exist in the air, in waves. Maybe they never stop. High, high, high-pitched. Coming from somewhere."

"Is it raining," I said, "or isn't it?"

"I wouldn't want to have to say."

"What if someone held a gun to your head?"

"Who, you?"

"Someone. A man in a trenchcoat and smoky gla.s.ses. He holds a gun to your head and says, 'Is it raining or isn't it? All you have to do is tell the truth and I'll put away my gun and take the next flight out of here.'"

"What truth does he want? Does he want the truth of someone traveling at almost the speed of light in another galaxy? Does he want the truth of someone in orbit around a neutron star? Maybe if these people could see us through a telescope we might look like we were two feet two inches tall and it might be raining yesterday instead of today."

"He's holding the gun to your your head. He wants your truth." head. He wants your truth."

"What good is my truth? My truth means nothing. What if this guy with the gun comes from a planet in a whole different solar system? What we call rain he calls soap. What we call apples he calls rain. So what am I supposed to tell him?"

"His name is Frank J. Smalley and he comes from St. Louis."

"He wants to know if it's raining now, now, at this very minute?" at this very minute?"

"Here and now. That's right."

"Is there such a thing as now? 'Now' comes and goes as soon as you say it. How can I say it's raining now if your so-called 'now' becomes 'then' as soon as I say it?"

"You said there was no past, present, or future."

"Only in our verbs. That's the only place we find it."

"Rain is a noun. Is there rain here, in this precise locality, at whatever time within the next two minutes that you choose to respond to the question?"

"If you want to talk about this precise locality while you're in a vehicle that's obviously moving, then I think that's the trouble with this discussion."

"Just give me an answer, okay, Heinrich?"

"The best I could do is make a guess."

"Either it's raining or it isn't," I said.

"Exactly. That's my whole point. You'd be guessing. Six of one, half dozen of the other."

"But you see see it's raining." it's raining."

"You see the sun moving across the sky. But is the sun moving across the sky or is the earth turning?"

"I don't accept the a.n.a.logy."

"You're so sure that's rain. How do you know it's not sulfuric acid from factories across the river? How do you know it's not fallout from a war in China? You want an answer here and now. Can you prove, here and now, that this stuff is rain? How do I know that what you call rain is really rain? What is is rain anyway?" rain anyway?"

"It's the stuff that falls from the sky and gets you what is called wet."

"I'm not wet. Are you wet?"

"All right," I said. "Very good."

"No, seriously, are you wet?"

"First-rate," I told him. "A victory for uncertainty, randomness and chaos. Science's finest hour."

"Be sarcastic."

"The sophists and the hairsplitters enjoy their finest hour."

"Go ahead, be sarcastic, I don't care."

Heinrich's mother lives in an ashram now. She has taken the name Mother Devi and runs the business end of things. The ashram is located on the outskirts of the former copper-smelting town of Tubb, Montana, now called Dharamsalapur. The usual rumors abound of s.e.xual freedom, s.e.xual slavery, drugs, nudity, mind control, poor hygiene, tax evasion, monkey-wors.h.i.+p, torture, prolonged and hideous death.

I watched him walk through the downpour to the school entrance. He moved with deliberate slowness, taking off his camouflage cap ten yards from the doorway. At such moments I find I love him with an animal desperation, a need to take him under my coat and crush him to my chest, keep him there, protect him. He seems to bring a danger to him. It collects in the air, follows him from room to room. Babette bakes his favorite cookies. We watch him at his desk, an unpainted table covered with books and magazines. He works well into the night, plotting chess moves in a game he plays by mail with a convicted killer in the penitentiary.

It was warm and bright the next day and students on the Hill sat on lawns and in dorm windows, playing their tapes, sunbathing. The air was a reverie of wistful summer things, the last languorous day, a chance to go bare-limbed once more, smell the mown clover. I went into the Arts Duplex, our newest building, a winged affair with a facade of anodized aluminum, sea-green, cloud-catching. On the lower level was the movie theater, a sloped and dark-carpeted s.p.a.ce with two hundred plush seats. I sat in shallow light at the end of the first row and waited for my seniors to arrive.

They were all Hitler majors, members of the only cla.s.s I still taught, Advanced n.a.z.ism, three hours a week, restricted to qualified seniors, a course of study designed to cultivate historical perspective, theoretical rigor and mature insight into the continuing ma.s.s appeal of fascist tyranny, with special emphasis on parades, rallies and uniforms, three credits, written reports.

Every semester I arranged for a screening of background footage. This consisted of propaganda films, scenes shot at party congresses, outtakes from mystical epics featuring parades of gymnasts and mountaineers-a collection I'd edited into an impressionistic eighty-minute doc.u.mentary. Crowd scenes predominated. Close-up jostled shots of thousands of people outside a stadium after a Goebbels speech, people surging, ma.s.sing, bursting through the traffic. Halls hung with swastika banners, with mortuary wreaths and death's-head insignia. Ranks of thousands of flagbearers arrayed before columns of frozen light, a hundred and thirty antiaircraft searchlights aimed straight up-a scene that resembled a geometric longing, the formal notation of some powerful ma.s.s desire. There was no narrative voice. Only chants, songs, arias, speeches, cries, cheers, accusations, shrieks.

I got to my feet and took up a position at the front of the theater, middle aisle, facing the entranceway.

They came in out of the sun in their poplin walk shorts and limited-edition T-s.h.i.+rts, in their easy-care knits, their polo styling and rugby stripes. I watched them take their seats, noting the subdued and reverent air, the uncertain antic.i.p.ation. Some had notebooks and pencil lights; some carried lecture material in bright binders. There were whispers, rustling paper, the knocking sound of seats dropping as one by one the students settled in. I leaned against the front of the ap.r.o.n, waiting for the last few to enter, for someone to seal the doors against our voluptuous summer day.

Soon there was a hush. It was time for me to deliver the introductory remarks. I let the silence deepen for a moment, then cleared my arms from the folds of the academic robe in order to gesture freely.

When the showing ended, someone asked about the plot to kill Hitler. The discussion moved to plots in general. I found myself saying to the a.s.sembled heads, "All plots tend to move deathward. This is the nature of plots. Political plots, terrorist plots, lovers' plots, narrative plots, plots that are part of children's games. We edge nearer death every time we plot. It is like a contract that all must sign, the plotters as well as those who are the targets of the plot."

Is this true? Why did I say it? What does it mean?

7.

Two nights a week Babette goes to the Congregational church at the other end of town and lectures to adults in the bas.e.m.e.nt on correct posture. Basically she is teaching them how to stand, sit and walk. Most of her students are old. It isn't clear to me why they want to improve their posture. We seem to believe it is possible to ward off death by following rules of good grooming. Sometimes I go with my wife to the church bas.e.m.e.nt and watch her stand, turn, a.s.sume various heroic poses, gesture gracefully. She makes references to yoga, kendo, trance-walking. She talks of Sufi dervishes, Sherpa mountaineers. The old folks nod and listen. Nothing is foreign, nothing too remote to apply. I am always surprised at their acceptance and trust, the sweetness of their belief. Nothing is too doubtful to be of use to them as they seek to redeem their bodies from a lifetime of bad posture. It is the end of skepticism. We walked home under a marigold moon. Our house looked old and wan at the end of the street, the porch light s.h.i.+ning on a molded plastic tricycle, a stack of three-hour colored-flame sawdust and wax logs. Denise was doing her homework in the kitchen, keeping an eye on Wilder, who had wandered downstairs to sit on the floor and stare through the oven window. Silence in the halls, shadows on the sloping lawn. We closed the door and disrobed. The bed was a mess. Magazines, curtain rods, a child's sooty sock. Babette hummed something from a Broadway show, putting the rods in a corner. We embraced, fell sideways to the bed in a controlled way, then repositioned ourselves, bathing in each other's flesh, trying to kick the sheets off our ankles. Her body had a number of long hollows, places the hand might stop to solve in the dark, tempo-slowing places. We believed something lived in the bas.e.m.e.nt.

"What do you want to do?" she said.

"Whatever you want to do."

"I want to do whatever's best for you."

"What's best for me is to please you," I said.

"I want to make you happy, Jack."

"I'm happy when I'm pleasing you."

"I just want to do what you want to do."

"I want to do whatever's best for you."

"But you please me by letting me please you," she said.

"As the male partner I think it's my responsibility to please."

"I'm not sure whether that's a sensitive caring statement or a s.e.xist remark."

"Is it wrong for the man to be considerate toward his partner?"

"I'm your partner when we play tennis, which we ought to start doing again, by the way. Otherwise I'm your wife. Do you want me to read to you?"

"First-rate."

"I know you like me to read s.e.xy stuff."

"I thought you liked it too."

"Isn't it basically the person being read to who derives the benefit and the satisfaction? When I read to Old Man Treadwell, it's not because I find those tabloids stimulating."

"Treadwell's blind, I'm not. I thought you liked to read erotic pa.s.sages."

"If it pleases you, then I like to do it."

"But it has to please you too, Baba. Otherwise how would I feel?"

"It pleases me that you enjoy my reading."

"I get the feeling a burden is being s.h.i.+fted back and forth. The burden of being the one who is pleased."

"I want to read, Jack. Honestly."

"Are you totally and completely sure? Because if you're not, we absolutely won't."

Someone turned on the TV set at the end of the hall, and a woman's voice said: "If it breaks easily into pieces, it is called shale. When wet, it smells like clay."

We listened to the gently plummeting stream of nighttime traffic.

I said, "Pick your century. Do you want to read about Etruscan slave girls, Georgian rakes? I think we have some literature on flagellation brothels. What about the Middle Ages? We have incubi and succubi. Nuns galore."

"Whatever's best for you."

"I want you to choose. It's s.e.xier that way."

"One person chooses, the other reads. Don't we want a balance, a sort of give-and-take? Isn't that what makes it s.e.xy?"

"A tautness, a suspense. First-rate. I will choose."

"I will read," she said. "But I don't want you to choose anything that has men inside women, quote-quote, or men entering women. 'I entered her.' 'He entered me.' We're not lobbies or elevators. 'I wanted him inside me,' as if he could crawl completely in, sign the register, sleep, eat, so forth. Can we agree on that? I don't care what these people do as long as they don't enter or get entered."

"Agreed."

"'I entered her and began to thrust.'"

"I'm in total agreement," I said.

"'Enter me, enter me, yes, yes.'"

"Silly usage, absolutely."

"'Insert yourself, Rex. I want you inside me, entering hard, entering deep, yes, now, oh.'"

I began to feel an erection stirring. How stupid and out of context. Babette laughed at her own lines. The TV said: "Until Florida surgeons attached an artificial flipper."

Babette and I tell each other everything. I have told everything, such as it was at the time, to each of my wives. There is more to tell, of course, as marriages acc.u.mulate. But when I say I believe in complete disclosure I don't mean it cheaply, as anecdotal sport or shallow revelation. It is a form of self-renewal and a gesture of custodial trust. Love helps us develop an ident.i.ty secure enough to allow itself to be placed in another's care and protection. Babette and I have turned our lives for each other's thoughtful regard, turned them in the moonlight in our pale hands, spoken deep into the night about fathers and mothers, childhood, friends.h.i.+ps, awakenings, old loves, old fears (except fear of death). No detail must be left out, not even a dog with ticks or a neighbor's boy who ate an insect on a dare. The smell of pantries, the sense of empty afternoons, the feel of things as they rained across our skin, things as facts and pa.s.sions, the feel of pain, loss, disappointment, breathless delight. In these night recitations we create a s.p.a.ce between things as we felt them at the time and as we speak them now. This is the s.p.a.ce reserved for irony, sympathy and fond amus.e.m.e.nt, the means by which we rescue ourselves from the past.

I decided on the twentieth century. I put on my bathrobe and went down the hall to Heinrich's room to find a trashy magazine Babette might read from, the type that features letters from readers detailing their s.e.xual experiences. This struck me as one of the few things the modern imagination has contributed to the history of erotic practices. There is a double fantasy at work in such letters. People write down imagined episodes and then see them published in a national magazine. Which is the greater stimulation?

Wilder was in there watching Heinrich do a physics experiment with steel b.a.l.l.s and a salad bowl. Heinrich wore a terry cloth robe, a towel around his neck, another towel on his head. He told me to look downstairs.

In a stack of material I found some family photo alb.u.ms, one or two of them at least fifty years old. I took them up to the bedroom. We spent hours going through them, sitting up in bed. Children wincing in the sun, women in sun hats, men shading their eyes from the glare as if the past possessed some quality of light we no longer experience, a Sunday dazzle that caused people in their churchgoing clothes to tighten their faces and stand at an angle to the future, somewhat averted it seemed, wearing fixed and finedrawn smiles, skeptical of something in the nature of the box camera.

Who will die first?

8.

My struggle with the German tongue began in mid-October and lasted nearly the full academic year. As the most prominent figure in Hitler studies in North America, I had long tried to conceal the fact that I did not know German. I could not speak or read it, could not understand the spoken word or begin to put the simplest sentence on paper. The least of my Hitler colleagues knew some German; others were either fluent in the language or reasonably conversant. No one could major in Hitler studies at the College-on-the-Hill without a minimum of one year of German. I was living, in short, on the edge of a landscape of vast shame.

The German tongue. Fleshy, warped, spit-spraying, purplish and cruel. One eventually had to confront it. Wasn't Hitler's own struggle to express himself in German the crucial subtext of his ma.s.sive ranting autobiography, dictated in a fortress prison in the Bavarian hills? Grammar and syntax. The man may have felt himself imprisoned in more ways than one.