Dot said: "I imagine I'll be havin' the blueberry cobbler."
They both ordered Cokes--"real ones," May emphasized to Celeste. For the drive ahead, not to mention the slew of children and grandchildren, Dot and May wanted all the caffeine and sugar they could get.
"I swear," May said to Dot, "if my kids and grandkids keep havin' more kids, you can check me into that so-called retreat."
"I'll come visit you," her friend Dot told her. "If the pizza's any good," she added.
In the kitchen at Avellino, maybe the cook had heard the old ladies cackling. "Two pepperoni pizzas," Celeste told him. "Two probable pie and cobbler customers."
"Who are they?" the cook asked her; he wasn't usually so curious. "A couple of locals?"
"A couple of bad old broads, if you ask me--locals or otherwise," Celeste said.
It was almost time for the Red Sox game on the radio. Boston was playing at home, in Fenway Park, but Greg was listening to some sentimental crap called The Oldie-But-Goldie Hour on another station. The cook hadn't really been paying attention, but the featured recording, from 1967, was Surrealistic Pillow--the old Jefferson Airplane album.
When Tony Angel recognized Grace Slick's voice singing "Somebody to Love," he spoke with uncharacteristic sharpness to his sous chef.
"Time for the game, Greg," the cook said.
"Just lemme hear--" the sous chef started to say, but Tony abruptly switched stations. (Everyone had heard the impatience in his voice and seen the angry way he'd reached for the radio.)
All the cook could say for himself was: "I do
n't like that song."
With a shrug, Celeste said to them all: "Memories, I guess."
Just one thin wall and two swinging doors away were two more old memories. Unfortunately, the cook would not get rid of Dot and May as easily as he'd cut off that song on the radio.
CHAPTER 9
THE FRAGILE, UNPREDICTABLE
NATURE OF THINGS
OUT ON THE CORALVILLE STRIP, WITHIN SIGHT OF MAO'S, there'd been a pizza place called The Greek's; kalamata olives and feta cheese was the favorite topping. (As Danny's dad had said at the time, "It isn't bad, but it isn't pizza.") In downtown Iowa City was an imitation Irish pub called O'Rourke's--pool tables, green beer every St. Patrick's Day, bratwurst or meatball sandwiches. To Danny, O'Rourke's was strictly a student hangout--an unconvincing copy of those Boston pubs south of the Haymarket, in the vicinity of Hanover Street. The oldest of these was the Union Oyster House, a clam bar and restaurant, which would one day be across the street from a Holocaust commemoration site, but there was also the Bell in Hand Tavern on the corner of Union and Marshall streets--a pub where the underage Daniel Baciagalupo had gotten drunk on beer with his older Saetta and Calogero cousins.
Those taverns had not been far enough out of the North End to have escaped the cook's attention. One day he'd followed Daniel and his cousins to the Bell in Hand. When the cook saw his young son drinking a beer, he'd pulled the boy out of the tavern by his ear.
As the writer Danny Angel sat working away in his notebook at Avellino--waiting for his dad, the cook, to surprise him--he wished that his humiliation in the Bell in Hand, in front of his older cousins, had been sufficient to make him stop drinking before he really got started. But in order to stop himself, Danny had needed a greater fright and subsequent humiliation than that earlier misadventure in a Boston bar. It would come, but not before he was a father. ("If becoming a parent doesn't make you responsible," the cook had once said to his son, "nothing will.")
Had Danny been thinking as a father when he'd typed a one-page message to the hippie carpenter, and had driven out the back road to Westminster West in order to put the message in the asshole dog owner's mailbox, before driving to Brattleboro and his surprise dinner at Avellino? Was this what the writer would have wanted young Joe to do, if his son were to find himself in a similarly hostile situation?
"I am truly sorry your dog is dead," Danny had typed. "I was angry. You take no responsibility for your dogs, and you won't acknowledge that a public road is not your dogs' territory. But I should have held my temper better than I did. I'll run somewhere else. You've lost a dog; I'll give up my favorite run. Enough is enough, okay?"
It was just a plain piece of typing paper. The writer didn't include his name. If Armando was right--if the asshole was a writer carpenter, and/or one of Danny's former students at Windham--then of course the infuriating dog owner already knew that the runner with the squash-racquet handles was the writer Danny Angel. But Danny saw no reason to advertise this. He didn't put the piece of paper in an envelope, either; he'd just folded it twice and put it in the dog owner's mailbox, out where the driveway lined with dead vehicles met the road.
Now, as he sat writing in Avellino, Danny knew what Armando would say: "You don't try to make peace with assholes," or words to that effect. But Armando didn't have children. Did that make Armando more unafraid? The very idea of an altercation escalating out of control--well, wasn't that high on the list of things to protect your children from? (In the notebook, where Danny was scribbling to himself, the phrase "a nameless fear" stood out with an identifying awkwardness in several unfinished sentences.)
As a boy, and as a young man, Danny had always assumed that his dad and Ketchum were different, chiefly because his dad was a cook and Ketchum was a river driver--a logger, tougher than his caulk boots, an intemperate woodsman who would never back down from a fight.
But Ketchum was estranged from his children; he'd already lost them. It wasn't necessarily true that Ketchum was braver, or more bold, than the cook. Ketchum wasn't a father, not anymore; he didn't have as much to lose. Danny only now understood that his dad had been doing his best to look out for him. Leaving Twisted River had been a father's decision. And the cook and his son were both trying to look out for young Joe; their mutual fear for the boy had brought Danny and his dad closer together.
He'd felt close to his father in Iowa City, too, the writer was remembering. (Their Asian interlude, as Danny thought of Iowa that second time around.) His dad's steadiest girlfriend those years in Iowa City had been an ER nurse at Mercy Hospital--Yi-Yiing was Chinese. She was Danny's age--in her early thirties, almost twenty years younger than the cook--and she had a daughter, who was Joe's age, back in Hong Kong. Her husband had left her upon the daughter's birth--he'd wanted a son--and Yi-Yiing had trusted her mother and father to care for her child while she'd made a new life for herself in the Midwest. The nursing career had been a good choice, and so had Iowa City. The doctors at Mercy Hospital had declared that Yi-Yiing was indispensable. She had her green card and was on track to become a U.S. citizen.
Of course Yi-Yiing would hear the occasional gook word--the most common insult from a prejudiced patient in the emergency room, and from an unseen driver or passenger in a moving car. But it didn't faze her to be mistaken for the war bride of a Vietnam vet. She had a harder, uphill task ahead of her--namely, moving her daughter and her parents to the United States--but she was well on her way to unraveling the red tape that was involved. Yi-Yiing had her own reasons for remaining undistracted from achieving her goal. (She'd been assured it would be easier to bring her family to the United States once the war in Vietnam was over; it was "only a matter of time," a reliable authority had told her.)
What Yi-Yiing had said to Tony Angel was that it wasn't the time for her to be "romantically involved." Maybe this was music to his dad's ears, Danny had thought at the time. Quite possibly, given Yi-Yiing's heroic undertaking, the cook was a consoling and undemanding partner for her; with so much of his life lost to the past, Tony Angel wasn't exactly seeking so-called romantic involvement, either. Moreover, that the cook's grandson was the same age as Yi-Yiing's daughter gave the nurse a motherly affection for young Joe.