An American Childhood Part 2

"Yes, but it's tricky. It's a matter of point of view." And Father would leave the dining room, rubbing his face in concentration, or as if he were smearing on greasepaint, and return when he was ready.

"Ready with the four-by-twos?" Mother said.

Our father hung his hands in his pockets and regarded the far ceiling with fond reminiscence.

"Fellow comes into a lumberyard," he began.

"Says to the guy, 'I need some four-by-twos.' 'You mean two-by-fours?' 'Just a minute. I'll find out.' He walks out to the parking lot, where his buddies are waiting in the car. They roll down the car window. He confers with them a while and comes back across the parking lot and says to the lumberyard guy, 'Yes. I mean two-by-fours.'

"Lumberyard guy says, 'How long do you want them?' 'Just a minute,' fellow says, 'I'll find out.' He goes out across the parking lot and confers with the people in the car and comes back across the parking lot to the lumberyard and says to the guy, 'A long time. We're building a house.'"

After any performance Father rubbed the top of his face with both hands, as if it had all been a dream. He sat back down at the dining-room table, laughing and shaking his head. "And when you tell a joke," Mother said to Amy and me, "laugh. It's mean not to."

We were brought up on the cla.s.sics. Our parents told us all the great old American jokes, practically by number. They collaborated on, and for our benefit specialized in, the painstaking paleontological reconstruction of vanished jokes from extant tag lines. They could vivify old New Yorker New Yorker cartoons, source of many tag lines. The lines themselves-"Back to the old drawing board," and "I say it's spinach and I say the h.e.l.l with it," and "A simple yes or no will suffice"-were no longer funny; they were instead something better, they were fixtures in the language. The tag lines of old jokes were the most powerful expressions we learned at our parents' knees. A few words suggested a complete story and a wealth of feelings. Learning our culture backward, Amy and Molly and I heard only later about cartoons, source of many tag lines. The lines themselves-"Back to the old drawing board," and "I say it's spinach and I say the h.e.l.l with it," and "A simple yes or no will suffice"-were no longer funny; they were instead something better, they were fixtures in the language. The tag lines of old jokes were the most powerful expressions we learned at our parents' knees. A few words suggested a complete story and a wealth of feelings. Learning our culture backward, Amy and Molly and I heard only later about The Divine Comedy The Divine Comedy and the Sistine Chapel ceiling, and still later about the Greek and Roman myths, which held no residue of feeling for us at all-certainly not the vibrant suggestiveness of old American jokes and cartoons. and the Sistine Chapel ceiling, and still later about the Greek and Roman myths, which held no residue of feeling for us at all-certainly not the vibrant suggestiveness of old American jokes and cartoons.

Our parents reserved a few select jokes, such as "Archibald a Soulbroke," like vintage wines for extraordinary occasions. We heard about or witnessed those rare moments-maybe three or four in a lifetime-when circ.u.mstances combined to float our father to the top of the world, from which precarious eminence he would consent to fling himself into "Archibald a Soulbroke."

Telling "Archibald a Soulbroke" was for Father an exhilarating ordeal, like walking a tightrope over Niagara Falls. It was a long, absurdly funny, excruciatingly tricky tour de force he had to tell fast, and it required beat-perfect concentration. He had to go off alone and rouse himself to an exalted, superhuman pitch in order to pace the hot coals of its dazzling verbal surface. Often enough he returned from his prayers to a crowd whose moment had pa.s.sed. We knew that when we were grown, the heavy, honorable mantle of this heart-pounding joke would fall on us.

There was another very complicated joke, also in a select category, which required a long weekend with tolerant friends.

You had to tell a joke that was not funny. It was a long, pointless story about a construction job that ended with someone's throwing away a brick. There was nothing funny about it at all, and when your friends did not laugh, you had to pretend you'd m.u.f.fed it. (Your husband in the crowd could s.h.i.+ll for you: "'Tain't funny, Pam. You told it all wrong.") A few days later, if you could contrive another occasion for joke telling, and if your friends still permitted you to speak, you set forth on another joke, this one an old nineteenth-century chestnut about angry pa.s.sengers on a train. The lady plucks the lighted, smelly cigar from the man's mouth and flings it from the moving train's window. The man seizes the little black poodle from her lap and hurls the poor dog from the same window. When at last the pa.s.sengers draw unspeaking into the station, what do they see coming down the platform but the black poodle, and guess what it has in its mouth? "The cigar," say your friends, bored sick and vowing never to spend another weekend with you. "No," you say, triumphant, "the brick." This was Mother's kind of joke. Its very riskiness excited her. It wasn't funny, but it was interesting to set up, and it elicited from her friends a grudging admiration.

How long, I wondered, could you stretch this out? How boldly could you push an audience-not, in Mother's terms, to "slay them," but to please them in some grand way? How could you convince the listeners that you knew what you were doing, that the payoff would come? Or conversely, how long could you lead them to think you were stupid, a dumb blonde, to enhance their surprise at the punch line, and heighten their pleasure in the good story you had controlled all along? Alone, energetic and trying to fall asleep, or walking the residential streets long distances every day, I pondered these things.

Our parents were both sympathetic to what professional comedians call flop sweat. Boldness was all at our house, and of course you would lose some. Anyone could be misled by poor judgment into telling a "woulda hadda been there." Telling a funny story was harder than telling a joke; it was trying out, as a tidy unit, some raveling shred of the day's fabric. You learned to gauge what sorts of thing would "tell." You learned that some people, notably your parents, could rescue some things by careful narration from the category "woulda hadda been there" to the category "it tells."

At the heart of originating a funny story was recognizing it as it floated by. You scooped the potentially solid tale from the flux of history. Once I overheard my parents arguing over a thirty-year-old story's credit line. "It was my mother who said that," Mother said. "Yes, but"-Father was downright smug-"I was the one who noticed she said that."

The sight gag was a n.o.ble form, and the running gag was a n.o.ble form. In combination they produced the top of the line, the running sight gag, like the sincere and deadpan Nairobi Trio interludes on Ernie Kovacs. How splendid it was when my parents could get a running sight gag going. We heard about these legendary occasions with a thrill of family pride, as other children hear about their progenitors' war exploits.

The sight gag could blur with the practical joke-not a n.o.ble form but a friendly one, which helps the years pa.s.s. My parents favored practical jokes of the sort you set up and then retire from, much as one writes books, possibly because imagining people's reactions beats witnessing them. They procured a living hen and "hypnotized" it by setting it on the sink before the bathroom mirror in a friend's cottage by the New Jersey sh.o.r.e. They spent weeks constructing a ten-foot sea monster-from truck inner tubes, cement blocks, broomsticks, lumber, pillows-and set it afloat in a friend's pond. On Sanibel Island, Florida, they baffled the sh.e.l.l collectors each Saint Patrick's Day by boiling a bucketful of fine sh.e.l.ls in green dye and strewing the green sh.e.l.ls up and down the beach before dawn. I woke one Christmas morning to find in my stocking, hung from the mantel with care, a leg. Mother had charmed a department store display manager into lending her one.

When I visited my friends, I was well advised to rise when their parents entered the room. When my friends visited me, they were well advised to duck.

Central in the orders of merit, and the very bread and b.u.t.ter of everyday life, was the crack. Our mother excelled at the crack. We learned early to feed her lines just to watch her speed to the draw. If someone else fired a crack simultaneously, we compared their concision and pointedness and declared a winner.

Feeding our mother lines, we were training as straight men. The straight man's was an honorable calling, a bit like that of the rodeo clown: despised by the ignorant ma.s.ses, perhaps, but revered among experts who understood the skills required and the risks run. We children mastered the deliberate misunderstanding, the planted pun, the Gracie Allen know-nothing remark, which can make of any interlocutor an instant hero.

How very gracious is the straight man!-or, in this case, the straight girl. She spreads before her friend a gift-wrapped, beribboned gag line he can claim for his own, if only he will pick it up instead of pausing to contemplate what a nitwit he's talking to.

OUR FATHER'S PARENTS LIVED IN P PITTSBURGH; Amy and I dined with them, rather formally, every Friday night until dancing school swept us away. Our grandfather's name was, like our father's, Frank Doak. He was a banker, a potbellied, bald man with thin legs: a generous-hearted, joking, calm Pittsburgher of undistinguished Scotch-Irish descent, who held his peace. Our grandmother's name was Meta Waltenburger Doak. We children called her Oma, accenting both syllables. She was an imperious and kindhearted grande dame of execrable taste, a tall, potbellied redhead, the proud descendant and heir of well-to-do Germans in Louisville, Kentucky, who boasted that she never worked a day in her life. Our father was their only child.

Every summer these grandparents moved to their summer house on the sh.o.r.e of Lake Erie, near North Madison, Ohio, and every summer Amy and I moved in with them for a month or two. With them also lived Mary Burinda, a thin woman who still carried a buzzing trace of Hungarian at the tip of her tongue, and who cooked and cleaned and warmly befriended both our grandmother and us; and Henry Watson, a Pittsburgh man who drove the car, tended the grounds, and served dinner.

Oma was odd about money. One ordinary summer afternoon at Lake Erie, I found a penny in the sand.

"Money!" Oma said. "If you've found money, don't touch it with your bare hands. You don't know who has touched it."

My bare hands? Oma, Amy, and I had been swimming at the beach below the house when I found the penny. Now I was to bring it to Oma for safekeeping, and go wash my hands in the Lake as well as I could. This was.h.i.+ng ought to hold calamity at bay until we could get to the bathhouse to take showers.

Oma had told me that when she was in her teens, she had sewed rows of lace on her chemises, to bring her bust forward. It was hard to believe. By the time I knew her, her bust was enormous. Walking beside Amy and me up the path to the bathhouse, she cut an imposing figure: her legs were long and fine, her hips slender, her carriage erect. She wore her red hair short, in waves. Her face was round; her head was round and slightly flattened vertically, like Raggedy Ann's. Her blue eyes were small, stubby-lashed; her nose was short and bulbous. The expression on her thin lips was sometimes peevish, sometimes doting.

In the bathhouse Amy and I peeled down our bathing suits. Stuck to my belly skin, as if by suction, were flat bits of big Lake Erie sand-gray and smooth, like hammered dots. I pried them off with a fingernail. My b.u.t.tocks were cold, my arms hot.

We all stood in the women's shower; we stamped our sandy feet on the shower's cedar-slat floor, and turned on the water. Oma soaped her soft arms with the red sponge. When it was my turn to use the red sponge, I got sand in it. I washed myself down with soap and sand-a delicate operation on sunburned shoulders, a pleasingly rough one on poison-ivy-covered s.h.i.+ns.

Peering cheerfully down at me through the sharp strands of water, Oma said, "Have you washed your hands very well with soap?" She stuck her round head under the nozzle, screwed her eyes tight shut, and wagged her chin.

I mistook bodies for persons, and admired Oma above all for her freckles. Also, she could float. She could float on her back in Lake Erie, she said, and read a book. Sadly, I never saw her perform this feat, for she was not so much of a reader that she felt the need of reading while bathing, but I often saw her float for long periods. Her vast tight abdomen rose in the air; her fingers joined over it. She could easily have held a book. Her small round head in its white rubber cap lay half submerged. From the sh.o.r.e I could see an expression of benignity or complacency on her features, features which had been rather bunched together, centered around her nose, by the tight bathing cap and its strap. She rocked over the little waves, calm as a plank. She wore white tennis shoes into the water, for our part of Lake Erie was b.u.mpy with glacial stones. When she floated, her tennis shoes stuck straight up.

From the bathhouse we climbed two flights of stairs to the house proper, a mid-twenties white frame house with five bedrooms and three bathrooms upstairs, and more on the third floor, where Henry Watson lived.

Now Henry was pus.h.i.+ng a mower over the back lawn. Politely he asked us how the water was; he didn't like the water.

Henry rarely wore his full uniform at the Lake; he wore only the heavy black pants, a white s.h.i.+rt, and suspenders. When he drove, he put on his cap. Famously, Henry loved summers at the Lake. He took pride in the cool lawns with their bluish, cylindrical gra.s.s. Mornings he cleared the horsetail beside the long path from the bathhouse. He washed the gla.s.s porch walls. He stood in the driveway up to his ankles in foam, a ridged black garden hose in his hand, was.h.i.+ng the car. Vapor rose low from the hot asphalt driveway; it was warm in the nostrils, sweet, smelling of soft soap. Henry's gold-rimmed gla.s.ses flashed.

In Pittsburgh, during the rest of the year, Henry went home every night to the Homewood section. By day he waited at curbs while my grandmother tried on shoes. He served dinner, nightly, in his white uniform jacket. Here at the Lake he had one friend, another chauffeur, named Cicero. He slept on the third floor. On a kitchen counter was his drinking gla.s.s.

Inside, Oma and Amy and I found Mary Burinda standing on the back of a flower-print couch. She held against a living-room window a curtain rod from which depended heavy, flower-print curtains. "Here, Mrs. Doak? Or lower?" Our grandfather was watching the Cleveland Indians on television in the same room. Henry would join him when he finished mowing.

"No, higher, I should think. But not now."

Mary climbed from the couch. She was thin, sallow-skinned, full of love, quick to laugh. She always wore her white uniform. By choice, she rarely came to the beach. I asked her how long it would be until dinner. She looked at her black watch. Two hours, she said. You kids. kids. How was the water? How was the water?

Mary was forty-five, to Oma's sixty-five. She had lived with them twenty-four years. Almost all of her family, she told me, had died one day during the 1918 flu epidemic; her parents and most of her brothers and sisters had died one after the other in the house. Both at the Lake and in Pittsburgh she had a room and a private bath; over the bed hung a crucifix, the most bizarre object I had ever seen. Of Mary's Catholicism, Oma used to say, with a tinge of admiration, "She's stubborn."

Mary and Henry ate in the kitchen. We ate on the enclosed porch. From the porch we could see the tall fir trunks on the back lawn, and the lake below and far down the cliff, and the lake beating in waves over the stones and up onto the sand, and blurring offsh.o.r.e with the sky.

Oma settled in for a phone call. She combed her wet hair and shaped its waves with a freckled forefinger. She sat to her Florentine leather desk, by the tall living-room windows. I joined my grandfather at the Cleveland Indians game; Amy rolled around bored on the floor. I could hear Oma. She placed the call with the operator and apparently got a busy signal, for she hung up, called the operator, and shouted that she'd like to try again. There was a silence. Then she lost her temper. "But I just told told you. I'm calling Marie Phillips in Pittsburgh-I just this minute finished telling you. Have you already you. I'm calling Marie Phillips in Pittsburgh-I just this minute finished telling you. Have you already lost lost the number I gave you?" the number I gave you?"

Oma had grown up an only child, in some luxury. There was something Victorian about her. Her grasp of the great world was slender. She believed that there was not only a telephone operator a.s.signed to her, but also a burglar. She and my grandfather had Cadillacs, one at a time. She referred to the car as "the machine": "Henry is coming around with the machine."

At the Lake, Oma wore cotton sundresses and low-heeled sandals. She relaxed there; we all did. She barely resembled the formidable woman she was in Pittsburgh the rest of the year. In Pittsburgh, she dressed. She wore jewelry by the breastful, by the armload: diamonds, rubies, emeralds. She wore big rings like engine bearings, and vast, slithering mink coats. She wore purple and green silk, purple and green linen, purple and green wool-dresses, suits, robes-and leather high-heeled pumps, which drew attention to her long, energetic legs and thin ankles. She looked imposing. She looked, we at our house tended to think-for how females looked occupied most of females' attention-terrible. We were all blondes; we disliked purple, we disliked green, and were against the rest of it, too.

American Standard Corporation started as a plumbing bra.s.s foundry in Louisville, Kentucky. Oma's grandfather, Theodore Ahrens, came over from Hamburg, Germany, in 1848 and opened that foundry, which kept growing. The family kept holdings in the firm. Our grandmother was not ashamed that she was German. Amy and I were ashamed of being one-fourth German because of her (never guessing that our own mother, whose hatred of things German was an ordinary part of family politics, was in fact half German herself).

I thought Oma was brilliant to have accepted the suit of Frank Doak. He was an uncommonly kind and good-natured man. Oma had met him in 1914, while she was visiting Pittsburgh cousins. He was from an ordinary Scotch-Irish family so devotedly Presbyterian they forbade looking at the Sunday funnies. (William Doak had immigrated from Ulster in 1848 with a cargo of woolens. He wrote home depressed that the socks weren't selling well. The name Doak was a corruption of McDougal.) Oma had been a spoiled, fun-loving, red-haired beauty; our grandfather handled her with the same solid calm that is reputedly so effective on racehorses.

By the time I knew him, our grandfather was a vice-president of Pittsburgh's Fidelity Trust Bank. He looked very like a cartoonist's version of "vested interests." In fact, he almost always wore a vest, and a gold watch on a chain; he was short and heavy; he had a small white mustache; he smoked cigars. At home, his thin legs crossed under his belly, he read the financial section of the paper, tolerant of children who might have been driven, in the long course of waiting for dinner, to beating their fingertips on his scalp.

From almost every room at the Lake house, you could see Lake Erie and its mild sh.o.r.e. From my bed as soon as I woke, I gauged the waves' height: two inches, three. The waves disintegrated on the big beach; from the high cliff where our house stood, their breaking sounded like poured raw rice. By afternoon, the waves were two or three feet high. They seemed to rattle the gla.s.s porch windows; they broke on the long beaches like seas. On the horizon we saw ore boats-lakers-bringing iron ore east from the Masabi ore range near Lake Superior. s.h.i.+ps had been carrying iron ore bound for Pittsburgh across Lake Erie since the time of Carnegie and Frick. Sometimes a dusting of ore washed up or blew up on the sand beach. It lay in scalloped windrows, as did the powdery purple garnet grains after storms.

Canada, we knew, lay across the Lake. Many times I planned to run away to Canada; I would lie on the canvas raft and paddle with my hands. Instead I took up bicycle exploring. I rode a bicycle all morning for months, for years. I saw apple orchards, nurseries, and cornfields.

The land I toured mornings on a bike was flat and fertile. The Ohio settlers had a crazy way of clearing this land of forest. Father told me about it one night after dinner (our parents visited the Lake every summer). The pioneers, he said-the Scotch-Irish, German, and English pioneers-came in and sawed halfway through the trunk of every tree they wanted to fell, every tree in-was I to believe this?-several acres. Then when a wind came up they felled some big trees at the forest's upwind edge, and those trees took the whole forest down, just knocked those half-cut trees before them like dominoes. I laughed-what a good idea. Father laughed. When you saw through a tree trunk, he said, the first half is a lot easier than the second half. They never had to saw through the second halves.

I rode past cantaloupe stands and truck farms planted in tomatoes. I rode past sandy woods and frame houses with green shutters and screened porches full of kids. I played baseball with some of the kids. I got a book on birds, took up bird-watching, and saw a Baltimore oriole in an apple orchard. I straddled my bike in amazement, bare feet on the cool morning road, and watched the brilliant thing bounce singing from treetop to treetop in the sun.

I learned to whistle; I whistled "The Wayward Wind." I sang "The Wayward Wind," too, at the top of my lungs for an hour one evening, bored on the porch, hurling myself from chair to chair singing, and wondering when these indulgent grandparents would stop me. At length my grandfather looked up from his paper and said, "That's a sad song you're singing. Do you know that?" And I was amazed he knew that. Did he yearn to wander, my banker grandfather, like the man in "The Wayward Wind"?

Afternoons we swam at our own beach. When Grandfather joined us I stared at the skin on his legs. It consisted of many scaly layers of fragile translucency, which together appeared bluish. On it, white starbursts appeared at random, and red streaks were visible somewhere inside. The stars and stripes forever. The skin on Oma's legs was similarly translucent; the freckles seemed to float flat just below the first few layers.

I found a beachful of neighborhood kids to swim with; I came home only to eat. Evenings Amy and I played cards with Oma and Mary on the porch, or, when we were younger, we colored in coloring books with Oma. Oma was a tidy hand with a crayon. She fought with us over the crayons as an equal. The big woodland silk moths banged at the gla.s.s walls beside our bare shoulders under the lamp.

We left the Lake by rising at three, eating the last of the sweet cantaloupe by lamplight, and driving through horse-and-buggy Mennonite country back to Pittsburgh. We retraced one of the routes the old Indian traders had used in the 1750s, back from the Lake Erie country to the Forks of the Ohio, where they could load up on trinkets and, pretty soon, buy a drink. In Pittsburgh, Oma would go back to work. Although she claimed never to have worked, in fact she and a partner directed the Presbyterian Hospital gift shop as volunteers full time for twenty years. And in Pittsburgh this year, Amy and I would start new schools.

Now in the embarra.s.sing Cadillac we pulled up in front of our house. From the capacious row of jump seats Amy and I were delivered-suntanned, cheerful, covered with poison ivy, and in possession of suitcases full of new green and purple dresses-to our mother.

The rivalry between our mother and Oma was intense; it was a long, civilized antagonism. Our mother had won the moral battle-we children were shamed, for instance, by Oma's bursts of bigotry-but Mother fought on for autonomy, seeking to prevent our being annexed to Oma's big tribe of Louisville Germans. When I was a baby, Oma had several times hauled me downriver to Louisville for Christmas as a prize; Mother put a stop to it.

If Oma had a great deal of shockingly loose money, we had, we fancied, good taste. Oma had a green-and-blue blown-gla.s.s sculpture of two intertwined swans, full of bubbles; we had a black iron Calder-style mobile. Oma had a servant and a companion. We had help. Our "help" shared our drinking gla.s.ses. At our parents' parties, friends ate lasagna and danced; at our grandparents' parties, guests ate sauerbraten and went to the theater.

Matters of taste are not, it turns out, moral issues. We thought we were grander than Oma morally, that she was bigoted and vain, quite as if we ourselves were neither. Actually it was her taste we most deplored. We thought that merely possessing a gaudy figurine was a worse offense than wholeheartedly embracing sn.o.bbery. We could not see how clearly she saw us, two small children just about to start prep school, who enjoyed the fruits of her family's prosperity, and who had barely peeped beyond Pittsburgh. She never said a word against our mother. But like our mother, she never gave up the struggle, even, apparently, after she suffered a stroke-for after her stroke she earnestly asked our father from time to time, "Have you ever thought of marrying?"

He pressed her freckled hand. Of course we loved her.

It was not, in retrospect, a fair fight. For at our house, we were all so young.

WE HAD MOVED WHEN I WAS EIGHT. We moved from Edgerton Avenue to Richland Lane, a hushed dead-end street on the far side of Frick Park. We expanded into a brick house on two lots. There was a bright sunporch under buckeye trees; there was a golden sandstone wall with fireplace and bench that Mother designed, which ran the length of the living room.

It was into this comfortable house that the last of us sisters, Molly, was born, two years later. It was from this house that Father would leave to go down the river to New Orleans, and to this house that he would return early, from the river at Louisville. Here Mother told the contractor where she wanted kitchen walls knocked out. Here on the sunporch Amy tended her many potentially well-dressed dolls, all of whom were, unfortunately, always sick in bed. Here I began a life of reading books, and drawing, and playing at the sciences. Here also I began to wake in earnest, and shed superst.i.tion, and plan my days.

Every August when Amy and I returned from the Lake, we saw that workmen had altered the house in our absence-the dining room seemed bigger, the kitchen was lighter-but we couldn't recall how it had been. I thought Mother was a genius for thinking up these improvements, for the house always seemed fine to me, yet it got better and better.

This August, the summer I was ten, we returned from the Lake and found our shared room uncannily tidy and stilled, dark, while summer, the summer in which we had been immersed, played outside the closed windows like a movie. So it always was, those first few minutes in an emptied room. They made you self-conscious; you felt yourself living your life. As soon as you unzipped your suitcase and opened the window, you broke the spell; you plunged again into the rush and weather.

While we were gone, Molly had learned to crawl. She pulled herself up and stood singing in her playpen on the flat part of the front lawn; the buckeye boughs stirred far overhead, and waved over her round arms their speckled lights.

Usually when it was hot the family swam at the distant country-club pool. Now that we were back from the Lake, all that resumed-a nasty comedown after the Lake, to whose neighborhood beach I had gone alone, and where we were all kids among kids who owned the beach and our days. There, at the Lake, if you wanted to leave, you simply kicked the bike's kickstand and sprang into the seat and away, in one skilled gesture like cowboys' mounting horses, rode away on the innocent Ohio roads under old, still trees. At the country club, you often wanted to leave as soon as you had come, but there was no leaving to be had. The country-club pool drew a society as complex and constraining, if not so entertaining, as any European capital's drawing room did. You forgot an old woman's name at some peril to your entire family. What if you actually, physically, ran into her? Knocked her off her pins? It was no place for children.

One country-club morning this August, I saw a red blotch moving in a dense hedge by the club's baby pool. I crept up on the red blotch in my cold bathing suit and discovered that it was a rose-breasted grosbeak. I had never seen one. This living, wild bird, which could fetch up anyplace it pleased, had inexplicably touched down at our country club. It scratched around in a hedge between the baby pool and the sixth hole. The dumb cluck, why a country club?

Mother said Father was going down the river in his boat pretty soon. It sounded like a swell idea.

One windy Sat.u.r.day morning, after the Lake and before the new private school started, I hung around the house. It was too early for action in the neighborhood. To wake up, I read on the sunporch.

The sunporch would wake anybody up; Father had now put on the record: Sharkey Bonano, "Li'l Liza Jane." He was bopping around, snapping his fingers; now he had wandered outside and stood under the big buckeye trees. I could see him through the sunporch's gla.s.s walls. He peered up at a patch of sky as if it could tell him, old salt that he was, right there on Richland Lane, how the weather would be next week on the Ohio River.

I was starting Kidnapped Kidnapped. It began in Scotland; David Balfour's father asked that a letter be delivered "when the house is redd up." Some people in Pittsburgh redd up houses, too. The hardworking parents of my earliest neighborhood friends said it: You kids redd up this room. It meant clean up, or ready up. I never expected to find "redd up" in so grand a thing as a book. Apparently it was Scots. I hadn't heard the phrase since we moved.

I rode back to Edgerton Avenue from time to time after we moved-to look around, and to fix in my mind the route back: past the lawn bowlers in Frick Park, past the football field, and beyond the old elementary schoolyard, where a big older boy had said to me, "Why, you're a regular Ralph Kiner." Touring that old neighborhood, I saw the St. Bede's nuns. I sped past them, careless, on my bike.

"Redd up," David Balfour's father said in Kidnapped Kidnapped. I was reading on the sunporch, on the bright couch. "Oh, Li'l Liza!" said the music on the record, "Li'l Liza Jane." Next week Father was going down the river to New Orleans. Maybe they'd let him sit in a set on the drums; maybe Zutty Singleton would be there and holler out to him-"Hey, Frank!"

The wind rattled the windowed sunporch walls beside me. I could see, without getting up, some green leaves blowing down from the buckeye branches overhead. Everything in the room was bright, even the bookshelves, even Amy's melancholy dolls. The blue shadows of fast clouds ran over the far walls and floor. Father snapped his fingers and wandered, tall and loose-limbed, over the house.

I was ten years old now, up into the double numbers, where I would likely remain till I died. I am awake now forever, I thought suddenly; I have converged with myself in the present. My hands were icy from holding Kidnapped Kidnapped up; I always read lying down. I felt time in full stream, and I felt consciousness in full stream joining it, like the rivers. up; I always read lying down. I felt time in full stream, and I felt consciousness in full stream joining it, like the rivers.

Part Two

WE LIVED IN A CLEAN CITY whose center was new; after the war, a few business leaders and Democratic Mayor David L. Lawrence had begun cleaning it up. Beneath the new city, and tucked up its hilly alleys, lay the old Pittsburgh, and the old foothill land beneath it. It was all old if you dug far enough. Our Pittsburgh was like Rome, or Jericho, a palimpsest, a sliding pile of cities built ever nearer the sky, and rising ever higher over the rivers. If you dug, you found things. whose center was new; after the war, a few business leaders and Democratic Mayor David L. Lawrence had begun cleaning it up. Beneath the new city, and tucked up its hilly alleys, lay the old Pittsburgh, and the old foothill land beneath it. It was all old if you dug far enough. Our Pittsburgh was like Rome, or Jericho, a palimpsest, a sliding pile of cities built ever nearer the sky, and rising ever higher over the rivers. If you dug, you found things.

Oma's chauffeur, Henry Watson, dug a hole in our yard on Edgerton Avenue to plant a maple tree when I was born, and again when Amy was born three years later. When he dug the hole for Amy's maple, he found an arrowhead-smaller than a dime and sharp. Our mother continually remodeled each of the houses we lived in: the workmen knocked out walls and found brick walls under the plaster and oak planks under the brick. City workers continually paved the streets: they poured asphalt over the streetcar tracks, streetcar tracks their fathers had wormed between the old riverworn cobblestones, cobblestones laid smack into the notorious nineteenth-century mud. Long stretches of that mud were the same pioneer roads that General John Forbes's troops had hacked over the mountains from Carlisle, or General Braddock's troops had hacked from the Chesapeake and the Susquehanna, widening with their axes the woodland paths the Indians had worn on deer trails.

Many old stone houses had slate-s.h.i.+ngle roofs. I used to find blown s.h.i.+ngles cracked open on the sidewalk; some of them bore-inside, where no one had been able to look until now-fine fossil prints of flat leaves. I heard there were dinosaur bones under buildings. The largest coal-bearing rock sequence in the world ran under Pittsburgh and popped out at Coal Hill, just across the Monongahela. (Then it ducked far underground and ran up into Nova Scotia, dove into the water and crossed under the Atlantic, and rolled up again thick with coal in Wales.) There were layers of natural gas beneath Pittsburgh, and pools of petroleum the pioneers called Seneca oil, because only Indians would fool with it.

We children lived and breathed our history-our Pittsburgh history, so crucial to the country's story and so typical of it as well-without knowing or believing any of it. For how can anyone know or believe stories she dreamed in her sleep, information for which and to which she feels herself to be in no way responsible? A child is asleep. Her private life unwinds inside her skin and skull; only as she sheds childhood, first one decade and then another, can she locate the actual, historical stream, see the setting of her dreaming private life-the nation, the city, the neighborhood, the house where the family lives-as an actual project under way, a project living people willed, and made well or failed, and are still making, herself among them. I breathed the air of history all unaware, and walked oblivious through its littered layers.

Outside in the neighborhoods, learning our way around the streets, we played among the enormous stone monuments of the millionaires-both those tireless Pittsburgh founders of the heavy industries from which the nation's wealth derived (they told us at school) and the industrialists' couldn't-lose bankers and backers, all of whom began as canny boys, the stories of whose rises to riches adults still considered inspirational to children.

We were unthinkingly familiar with the moguls' immense rough works as so much weird scenery on long drives. We saw the long, low-slung stripes of steel factories by the rivers; we saw pyramidal heaps of yellow sand at gla.s.sworks by the s.h.i.+ning railroad tracks; we saw rusty slag heaps on the outlying hilltops, and coal barges tied up at the docks. We recognized, on infrequent trips downtown, the industries' smooth corporate headquarters, each to its own soaring building-Gulf Oil, Alcoa, U.S. Steel, Koppers Company, Pittsburgh Plate Gla.s.s, Mellon Bank. Our cla.s.smates' fathers worked in these buildings, or at nearby corporate headquarters for Westinghouse Electric, Jones & Laughlin Steel, Rock-well Manufacturing, American Standard, Allegheny Ludlum, Westinghouse Air Brake, and H. J. Heinz.

The nineteenth-century industrialists' inst.i.tutions-galleries, universities, hospitals, churches, Carnegie libraries, the Carnegie Museum, Frick Park, Mellon Park-were, many of them, my stomping grounds. These absolute artifacts of philanthropy littered the neighborhoods with marble. Millionaires' encrusted mansions, now obsolete and turned into parks or art centers, weighed on every block. They lent their expansive, hushed moods to the Point Breeze neighborhoods where we children lived and where those fabulous men had lived also, or rather had visited at night in order to sleep. Everywhere I looked, it was the Valley of the Kings, their dynasty just ended, and their monuments intact but already out of fas.h.i.+on.

All these immensities wholly dominated the life of the city. So did their several peculiar social legacies: their powerful Calvinist mix of piety and acquisitiveness, which characterized the old and new Scotch-Irish families and the nation they helped found; the walled-up hush of what was, by my day, old money-amazing how fast it ages if you let it alone-and the clang and roar of making that money; the owners' Presbyterian churches, their anti-Catholicism, anti-Semitism, Republicanism, and love of continuous work; their dogmatic practicality, their easy friendliness, their Pittsburgh-centered innocence, and, paradoxically, their egalitarianism.

For all the insularity of the old guard, Pittsburgh was always an open and democratic town. "Best-natured people I ever went among," a Boston visitor noted two centuries earlier. In colonial days, everybody went to b.a.l.l.s, regardless of rank. No one had any truck with aristocratic pretensions-hadn't they hated the British lords in Ulster? People who cared to rave about their bloodlines, Mother told us, had stayed in Europe, which deserved them. We were vaguely proud of living in a city so full of distinctive immigrant groups, among which we never thought to number ourselves. We had no occasion to visit the steep hillside neighborhoods-Polish, Hungarian, Rumanian, Italian, Slav-of the turn-of-the-century immigrants who poured the steel and stirred the gla.s.s and shoveled the coal.

We children played around the moguls' enormous pale stone houses, restful as tombs, houses set back just so on their shaded grounds. Henry Clay Frick's daughter, unthinkably old, lived alone in her proud, sinking mansion; she had lived alone all her life. No one saw her. Men mowed the wide lawns and seeded them, and pushed rollers over them, over the new gra.s.s seed and musket b.a.l.l.s and arrowheads, over the big trees' roots, bones, shale, coal.

We knew bits of this story, and we knew none of it. Odd facts stuck in the mind: On the Pennsylvania frontier in the eighteenth century, people pressed hummingbirds as if they were poppies, between pages of heavy books, and mailed them back to Ulster and Scotland as curiosities. Money was so scarce in the western Pennsylvania mountains that, as late as the mid-nineteenth century, people subst.i.tuted odds and ends like road contracts, feathers, and elderberries.

We knew that before big industry there had been small industry here-H. J. Heinz setting up a roadside stand to sell horseradish roots from his garden. There were the makers of cannonb.a.l.l.s for the Civil War. There were the braggart and rowdy flatboat men and keelboat men, and the honored steamboat builders and pilots. There were local men getting rich in iron and gla.s.s manufacturing and trade downriver. There was a whole continentful of people pa.s.sing through, native-born and immigrant men and women who funneled down Pittsburgh, where two rivers converged to make a third river. It was the gateway to the West; they piled onto flat-boats and launched out into the Ohio River singing, to head for new country. There had been a Revolutionary War, and before that the French and Indian War. And before that, and first of all, had been those first settlers come walking bright-eyed in, into nowhere from out of nowhere, the people who, as they said, "broke wilderness," the pioneers. This was the history.

I treasured some bits; they provided doll-like figures for imagination's travels and wars. There in private imagination were the vivid figures of history in costume, tricked out as if for amateur outdoor drama: a moving, clumsy, insignificant spectacle like everything else the imagination proposes to itself for pure pleasure only-nothing real, n.o.body gets hurt, it's only ketchup.

WHILE FATHER WAS MOTORING down the river, my reading was giving me a turn. down the river, my reading was giving me a turn.

At a neighbor boy's house, I ran into Kimon Nicolaides' The Natural Way to Draw The Natural Way to Draw. This was a manual for students who couldn't get to Nicolaides' own cla.s.ses at New York's Art Students League. I was amazed that there were books about things one actually did. I had been drawing in earnest, but at random, for two years. Like all children, when I drew I tried to reproduce schema. The idea of drawing from life had astounded me two years previously, but I had gradually let it slip, and my drawing, such as it was, had sunk back into facile sloth. Now this book would ignite my fervor for conscious drawing, and bind my attention to both the vigor and the detail of the actual world.

For the rest of August, and all fall, this urgent, hortatory book ran my life. I tried to follow its schedules: every day, sixty-five gesture drawings, fifteen memory drawings, an hour-long contour drawing, and "The Sustained Study in Crayon, Clothed" or "The Sustained Study in Crayon, Nude."

While Father was gone, I outfitted an attic bedroom as a studio, and moved in. Every summer or weekend morning at eight o'clock I taped that day's drawing schedule to a wall. Since there was no model, nude or clothed, I drew my baseball mitt.

I drew my baseball mitt's gesture-its tense repose, its expectancy, which ran up its hollows like a hand. I drew its contours-its flat fingertips strung on square rawhide thongs. I drew its billion grades of light and dark in detail, so the glove weighed vivid and complex on the page, and the trapezoids small as dust motes in the leather fingers cast shadows, and the pale palm leather was smooth as a belly and thick. "Draw anything," said the book. "Learning to draw is really a matter of learning to see," said the book. "Imagine that your pencil point is touching the model instead of the paper." "All the student need concern himself with is reality."

With my pencil point I crawled over the mitt's topology. I slithered over each dip and rise; I checked my bearings, admired the enormous view, and recorded it like Meriwether Lewis mapping the Rockies.

One thing struck me as odd and interesting. A gesture drawing took forty-five seconds; a Sustained Study took all morning. From any still-life arrangement or model's pose, the artist could produce either a short study or a long one. Evidently, a given object took no particular amount of time to draw; instead the artist took the time, or didn't take it, at pleasure. And, similarly, things themselves possessed no fixed and intrinsic amount of interest; instead things were interesting as long as you had attention to give them. How long does it take to draw a baseball mitt? As much time as you care to give it. Not an infinite amount of time, but more time than you first imagined. For many days, so long as you want to keep drawing that mitt, and studying that mitt, there will always be a new and finer layer of distinctions to draw out and lay in. Your attention discovers-seems thereby to produce-an array of interesting features in any object, like a lamp.

By noon, all this drawing would have gone to my head. I slipped into the mitt, quit the attic, quit the house, and headed up the street, looking for a ball game.