Middlesex

  “I’ve gotta protect my property.”

  “You life ain’t you property?” Morrison raised his eyebrows to indicate the unimpeachable logic of this statement. Then he dropped the superior expression altogether and coughed. “Listen, chief, long as you here, maybe you can help me out.” He held up small change. “Came over for some cigarettes.”

  Milton’s chin dipped, fattening his neck, and his eyebrows slanted in disbelief. In a dry voice he said, “Now’d be a good time to kick the habit.”

  Another shot rang out, this time closer. Morrison jumped, then smiled. “It sure is bad for my health. And gettin’ more dangerous all the time.” Then he smiled broadly. “This’ll be my last pack,” he said, “swear to God.” He dropped the change through the mail slot. “Parliaments.” Milton looked down at the coins for a moment and then went and got the cigarettes.

  “Got any matches?” Morrison said.

  Milton slipped these through, too. As he did, the riots, his frayed nerves, the smell of fire in the air, and the audacity of this man Morrison dodging sniper fire for a pack of cigarettes all became too much for Milton. Suddenly he was waving his arms, indicating everything, and shouting through the door, “What’s the matter with you people?”

  Morrison took only a moment. “The matter with us,” he said, “is you.” And then he was gone.

  “The matter with us is you.” How many times did I hear that growing up? Delivered by Milton in his so-called black accent, delivered whenever any liberal pundit talked about the “culturally deprived” or the “underclass” or “empowerment zones,” spoken out of the belief that this one statement, having been delivered to him while the blacks themselves burned down a significant portion of our beloved city, proved its own absurdity. As the years went on, Milton used it as a shield against any opinions to the contrary, and finally it grew into a kind of mantra, the explanation for why the world was going to hell, applicable not only to African Americans but to feminists and homosexuals; and then of course he liked to use it on us, whenever we were late for dinner or wore clothes Tessie didn’t approve of.

  “The matter with us is you!” Morrison’s words echoed in the street, but Milton didn’t have time to concentrate on them. Because right then, like a creaky Godzilla in a Japanese movie, the first military tank lumbered into view. Soldiers stood on both sides, not cops now but National Guardsmen, camouflaged, helmeted, nervously holding rifles with bayonets. Pointing those rifles up at all the other rifles pointing down. There was a moment of relative silence, enough for Milton to hear the slamming of Morrison’s screen door across the street. Then there was a pop, a sound like a toy gun, and suddenly the street lit up with a thousand bursts of fire . . .

  I heard them, too, from a quarter mile away. Following the slow tank at a discreet distance, I had ridden my bike from Indian Village on the East Side all the way to the West. I tried to keep my bearings as best I could, but I was only seven and a half, and didn’t know many street names. While passing through downtown, I recognized The Spirit of Detroit, the Marshall Fredericks statue that stood in front of the City-County Building. A few years earlier, a prankster had painted a trail of red footprints in the statue’s size, leading across Woodward to rendezvous with a statue of a naked woman in front of the National Bank of Detroit. The footprints were still faintly visible as I pedaled past. The tank turned up Bush Street, and I followed it past Monroe and the lights of Greektown. On a normal day, the old Greek men of my grandfather’s generation would have been arriving at the coffee houses to spend the day playing backgammon, but on the morning of July 25, 1967, the street was empty. At some point my tank had found others; in a line they now headed northwest. Soon downtown vanished and I didn’t know where I was. Ducking aerodynamically over my handlebars, I pedaled furiously into the thick, oily exhaust of the moving column . . .

  . . . while, back on Pingree Street, Milton is crouching behind the crenellated olive oil tins. Bullets fly from every darkened window along the block, from Frank’s Pool Hall and the Crow Bar, from the bell tower of the African Episcopal Church, so many bullets they blur the air like rain, making the one working streetlamp look as if it’s flickering out. Bullets pounding on armor and ricocheting off brickwork and tattooing the parked cars. Bullets ripping the legs right out from under a U.S. Postal Service mailbox, so that it falls over on its side like a drunk. Bullets obliterating the window of the veterinarian office and continuing on through the walls to reach the cages of the animals in back. The German shepherd that has been barking nonstop for three days and two nights finally shuts up. A cat twists in the air, letting out a scream, its blazing green eyes going out like a light. A real battle is under way now, a firefight, a little bit of Vietnam brought back home. But in this case the Vietcong are lying on Beautyrest mattresses. They are sitting in camping chairs and drinking malt liquor, a volunteer army facing off against the enlistees in the streets.

  It’s impossible to know who all these snipers were. But it’s easy to understand why the police called them snipers. It’s easy to understand why Mayor Jerome Cavanaugh called them snipers, and Govenor George Romney, too. A sniper, by definition, acts alone. A sniper is cowardly, sneaky; he kills from a distance, unseen. It was convenient to call them snipers, because if they weren’t snipers, then what were they? The governor didn’t say it; the newspapers didn’t say it; the history books still do not say it, but I, who watched the entire thing on my bike, saw it clearly: in Detroit, in July of 1967, what happened was nothing less than a guerrilla uprising.

  The Second American Revolution.

  And now the guardsmen are fighting back. When the riot first broke, the police, on the whole, acted with restraint. They moved off, trying to contain the disturbance. Likewise, the federal troops, the paratroopers of the 82nd Airborne and 101st, are battle-hardened veterans who know to use appropriate force. But the National Guard is a different story. Weekend warriors, they have been called from their homes into sudden battle. They are inexperienced, scared. They move through the streets, blasting away at anything they see. Sometimes they drive tanks right up onto front lawns. They drive onto people’s porches and crash through the walls. The tank in front of the Zebra Room has stopped momentarily. Ten or so troops surround it, taking aim at a sniper on the fourth floor of the Beaumont Hotel. The sniper fires; the National Guardsmen fire back, and the man drops, his legs tangling on the fire escape. Directly thereafter, another light flashes across the street. Milton looks up to see Morrison in his living room, lighting a cigarette. Lighting a Parliament with the zebra-striped matches. “No!” Milton shouts. “No!” . . . And Morrison, if he hears, just thinks it’s another diatribe against smoking, but let’s face it, he doesn’t hear. He only lights his cigarette and, two seconds later, a bullet rips through the front of his skull and he crumples in a heap. And then the soldiers move on.

  The street is empty again, silent. The machine guns and tanks begin ripping up the next block, or the block after that. Milton stands at the front door, looking across at the empty window where Morrison had stood. And the realization comes over him that the restaurant is safe. The soldiers have come and gone. The riot is over . . .

  . . . Except that now someone else is advancing along the street. As the tanks disappear down Pingree, a new figure is approaching from the other direction. Somebody who lives in the neighborhood is rounding the corner and heading for the Zebra Room . . .

  . . . following the line of tanks, I am no longer thinking about showing up my brother. The outbreak of so much shooting has taken me completely by surprise. I have looked through my father’s World War II scrapbook many times; I have seen Vietnam on television; I have ingested countless movies about Ancient Rome or the battles of the Middle Ages. But none of it has prepared me for warfare in my own hometown. The street we are moving down is lined with leafy elms. Cars are parked at the curb. We pass lawns and porch furniture, bird feeders and birdbaths. As I look up at the canopy of elms, the sky is just beginning to grow lig
ht. Birds move among the branches, and squirrels, too. A kite is stuck up in one tree. Over a limb of another, someone’s tennis shoes dangle with the laces knotted. Directly below these sneakers, I see a street sign. It is full of bullet holes, but I manage to read it: Pingree. All of a sudden I recognize where I am. There is Value Meats! And New Yorker Clothes. I am so happy to see them that for a moment I don’t register that both places are on fire. Letting the tanks get away, I ride up a driveway and stop behind a tree. I get off my bike and peek across the street at the diner. The zebra head sign is still intact. The restaurant is not burning. At that moment, however, the figure that has been approaching the Zebra Room enters my field of vision. From thirty yards away I see him lift a bottle in his hand. He lights the rag hanging from the bottle’s mouth and with a not terribly good arm flings the Molotov cocktail through the front window of the Zebra Room. And as flames erupt within the diner, the arsonist shouts in an ecstatic voice:

  “Opa, motherfucker!”

  I saw him only from the back. It was not yet fully light. Smoke rose from the adjacent burning buildings. Still, in the firelight, I thought I recognized the black beret of my friend Marius Wyxze-wixard Challouehliczilczese Grimes before the figure ran off.

  “Opa!” Inside the diner, my father heard the well-known cry of Greek waiters, and before he knew what was happening the place was going up like a flaming appetizer. The Zebra Room had become a saganaki! As the booths caught fire, Milton raced behind the counter to grab the fire extinguisher. Coming out again, he held the hose, like a lemon wedge wrapped in cheesecloth, over the flames, and prepared to squeeze . . .

  . . . when suddenly he stopped. And now I recognize a familiar expression on my father’s face, the expression he wore so often at the dinner table, the faraway look of a man who could never stop thinking about business. Success depends on adapting to new situations. And what situation was newer than this? Flames were climbing the walls; the photo of Jimmy Dorsey was curling up. And Milton was asking himself a few, pertinent questions. For instance: How would he ever run a restaurant in this neighborhood again? And: What do you suppose the already depressed real estate prices would be tomorrow morning? Most important of all: How was it a crime? Did he start the riot? Did he throw the Molotov cocktail? Like Tessie, Milton’s mind was searching the bottom drawer of his desk, in particular a fat envelope containing the three fire insurance policies from separate companies. He saw them in his mind’s eye; he read the fire indemnity coverage, and added them up. The final sum, $500,000, blinded him to everything else. Half a million bucks! Milton looked around with wild, eager eyes. The French toast sign was in flames. The zebra-skin barstools were like a row of torches. And madly, he turned and hurried outside to the Oldsmobile . . .

  Where he encountered me.

  “Callie! What the hell are you doing here?”

  “I came to help.”

  “What’s the matter with you!” Milton shouted. But despite the anger in his voice he was down on his knees, hugging me. I wrapped my arms around his neck.

  “The restaurant’s burning down, Daddy.”

  “I know it is.”

  I began to cry.

  “It’s okay,” my father told me, carrying me to the car. “Let’s go home now. It’s all over.”

  So was it a riot or a guerrilla uprising? Let me answer that question with other questions. After the riot was over, were, or were there not, caches of weapons found all over the neighborhood? And were these weapons, or were they not, AK-47s and machine guns? And why had General Throckmorton deployed his tanks on the East Side, miles from the rioting? Was that the kind of thing you did to subdue an unorganized gang of snipers? Or was it more in keeping with military strategy? Was it like establishing a front line in a war? Believe whatever you want. I was seven years old and followed a tank into battle and saw what I saw. It turned out that when it finally happened, the revolution wasn’t televised. On TV they called it only a riot.

  The following morning, as the smoke cleared, the city’s flag could once again be seen. Remember the symbol on it? A phoenix rising from its ashes. And the words beneath? Speramus meliora; resurget cineribus. “We hope for better things; it will rise from the ashes.”

  MIDDLESEX

  Shameful as it is to say, the riots were the best thing that ever happened to us. Overnight we went from being a family desperately trying to stay in the middle class to one with hopes of sneaking into the upper, or at least the upper-middle. The insurance money didn’t amount to quite as much as Milton had anticipated. Two of the companies refused to pay the full amount, citing excessive insurance clauses. They paid only a quarter of their policies’ value. Still, taken all together, the money was much more than the Zebra Room had been worth, and it allowed my parents to make some changes in our lives.

  Of all my childhood memories, none has the magic, the pure dreaminess, of the night we heard a honk outside our house and looked out the window to see that a spaceship had landed in our driveway.

  It had set down noiselessly next to my mother’s station wagon. The front lights flashed. The back end gave off a red glow. For thirty seconds nothing more happened. But then finally the window of the spaceship slowly retracted to reveal, instead of a Martian inside, Milton. He had shaved off his beard.

  “Get your mother,” he called, smiling. “We’re going for a little ride.”

  Not a spaceship then, but close: a 1967 Cadillac Fleetwood, as intergalactic a car as Detroit ever produced. (The moon shot was only a year away.) It was as black as space itself and shaped like a rocket lying on its side. The long front end came to a point, like a nose cone, and from there the craft stretched back along the driveway in a long, beautiful, ominously perfect shape. There was a silver multi-chambered grille, as though to filter stardust. Chrome piping, like the housing for circuitry, led from conical yellow turn signals along the rounded sides of the car, all the way to the rear, where the vehicle flared propulsively into jet fins and rocket boosters.

  Inside, the Cadillac was as plushly carpeted and softly lit as the bar at the Ritz. The armrests were equipped with ashtrays and cigarette lighters. The interior itself was black leather and gave off a strong new smell. It was like climbing into somebody’s wallet.

  We didn’t move right away. We remained parked, as if it were enough just to sit in the car, as if now that we owned it, we could forget about our living room and stay in the driveway every night. Milton started the engine. Keeping the transmission in park, he showed us the marvels. He opened and closed the windows by pressing a button. He locked the doors by pressing another. He buzzed the front seat forward, then tilted it back until I could see the dandruff on his shoulders. By the time he put the car into gear we were all slightly giddy. We drove away down Seminole, past our neighbors’ houses, already saying farewell to Indian Village. At the corner, Milton put the blinker on and it ticked, counting the seconds down to our eventual departure.

  The ’67 Fleetwood was my father’s first Cadillac, but there were many more to come. Over the next seven years, Milton traded up almost every year, so it’s possible for me to chart my life in relation to the styling features of his long line of Cadillacs. When tail fins disappeared, I was nine; when power antennas arrived, eleven. My emotional life accords with the designs, too. In the sixties, when Cadillacs were futuristically self-assured, I was also self-confident and forward-looking. In the gas-short seventies, however, when the manufacturer came out with the unfortunate Seville—a car that looked as though it had been rear-ended—I also felt misshapen. Pick a year and I’ll tell you what car we had. 1970: the cola-colored Eldorado. 1971: the red sedan DeVille. 1972: the golden Fleetwood with the passenger sun visor that opened up into a starlet’s dressing room mirror (in which Tessie checked her makeup and I my first blemishes). 1973: the long, black, dome-roofed Fleetwood that made other cars stop, thinking a funeral was passing. 1974: the canary-yellow, two-door “Florida Special” with white vinyl top, sunroof, and tan leather seats that
my mother is still driving today, almost thirty years later.

  But in 1967 it was the space-age Fleetwood. Once we got going the required speed, Milton said, “Okay. Now get a load of this.” He flipped a switch under the dash. There was a hissing sound, like balloons inflating. Slowly, as if lifted on a magic carpet, the four of us rose to the upper reaches of the car’s interior.

  “That’s what they call the ‘Air-Ride.’ Brand-new feature. Smooth, huh?”

  “Is it some kind of hydraulic suspension system?” Chapter Eleven wanted to know.

  “I think so.”

  “Maybe I won’t have to use my pillow when I drive,” said Tessie.

  For a moment after that, none of us spoke. We were headed east, out of Detroit, literally floating on air.

  Which brings me to the second part of our upward mobility. Shortly after the riots, like many other white Detroiters, my parents began looking for a house in the suburbs. The suburb they had their sights on was the affluent lakefront district of the auto magnates: Grosse Pointe.

  It was much harder than they ever expected. In the Cadillac, scouting the five Grosse Pointes (the Park, the City, the Farms, the Woods, the Shores), my parents saw for sale signs on many lawns. But when they stopped in at the realty offices and filled out applications, they found that the houses suddenly went off the market, or were sold, or doubled in price.

  After two months of searching, Milton was down to his last real estate agent, a Miss Jane Marsh of Great Lakes Realty. He had her—and some growing suspicions.

  “This property is rather eccentric,” Miss Marsh is telling Milton one September afternoon as she leads him up the driveway. “It takes a buyer with a little vision.” She opens the front door and leads him inside. “But it does have quite a pedigree. It was designed by Hudson Clark.” She waits for recognition. “Of the Prairie School?”