The boy was put in a special room in the children’s ward, pricked and poked by nurses, held down screaming as liquid medicine was poured into his throat, hooked up to an I.V. line, and placed in a crib that was then covered by a clear plastic tent—into which a mist of cold oxygen was pumped from a valve in the wall. The boy remained in this tent for three days and three nights. His parents were allowed to be with him continuously, and they took turns sitting beside the boy’s crib, head and arms under the tent, reading him books, telling him stories, playing games, while the other sat in a small reading room reserved for adults, watching the faces of the other parents whose children were in the hospital: none of these strangers daring to talk to each other, since they were all thinking of only one thing, and to speak of it would only have made it worse.
It was exhausting for the boy’s parents, since the medicine dripping into his veins was composed essentially of adrenalin. This charged him with extra doses of energy—above and beyond the normal energy of a two-year old—and much of their time was spent in trying to calm him down, restraining him from breaking out of the tent. For A. this was of little consequence. The fact of the boy’s illness, the fact that had they not taken him to the doctor in time he might actually have died, (and the horror that washed over him when he thought: what if he and his wife had decided to spend the night in the city, entrusting the boy to his grandparents—who, in their old age, had ceased to be observant of details, and who, in fact, had not noticed the boy’s strange breathing at the beach and had scoffed at A. when he first mentioned it), the fact of all these things made the struggle to keep the boy calm as nothing to A. Merely to have contemplated the possibility of the boy’s death, to have had the thought of his death thrown in his face at the doctor’s office, was enough for him to treat the boy’s recovery as a sort of resurrection, a miracle dealt to him by the cards of chance.
His wife, however, began to show the strain. At one point she walked out to A., who was in the adult sitting room, and said: “I give up, I can’t handle him anymore”—and there was such resentment in her voice against the boy, such an anger of exasperation, that something inside A. fell to pieces. Stupidly, cruelly, he wanted to punish his wife for such selfishness, and in that one instant all the newly won harmony that had been growing between them for the past month vanished: for the first time in all their years together, he had turned against her. He stormed out of the room and went to his son’s bedside.
The modern nothingness. Interlude on the force of parallel lives.
In Paris that fall he attended a small dinner party given by a friend of his, J., a well-known French writer. There was another American among the guests, a scholar who specialized in modern French poetry, and she spoke to A. of a book she was in the process of editing: the selected writings of Mallarme. Had A., she wondered, ever translated any Mallarme?
The fact was that he had. More than five years earlier, shortly after moving into the apartment on Riverside Drive, he had translated a number of the fragments Mallarme wrote at the bedside of his dying son, Anatole, in 1879. These were short works of the greatest obscurity: notes for a poem that never came to be written. They were not even discovered until the late 1950’s. In 1974, A. had done rough translation drafts of thirty or forty of them and then had put the manuscript away. When he returned from Paris to his room on Varick Street (December 1979, exactly one hundred years after Mallarme had scribbled those death notes to his son), he dug out the folder that contained the handwritten drafts and began to work up final versions of his translations. These were later published in the Paris Review, along with a photograph of Anatole in a sailor suit. From his prefatory note: “On October 6, 1879, Mallarme’s only son, Anatole, died at the age of eight after a long illness. The disease, diagnosed as child’s rheumatism, had slowly spread from limb to limb and eventually overtaken the boy’s entire body. For several months Mallarme and his wife had sat helplessly at Anatole’s bedside as doctors tried various remedies and administered unsuccessful treatments. The boy was shuttled from the city to the country and back to the city again. On August 22 Mallarme wrote to his friend Henry Ronjon ‘of the struggle between life and death our poor little darling is going through…But the real pain is that this little being might vanish. I confess that it is too much for me; I cannot bring myself to face this idea.’
It was precisely this idea, A. realized, that moved him to return to these texts. The act of translating them was not a literary exercise. It was a way for him to relive his own moment of panic in the doctor’s office that summer: it is too much for me, I cannot face it. For it was only at that moment, he later came to realize, that he had finally grasped the full scope of his own fatherhood: the boy’s life meant more to him than his own; if dying were necessary to save his son, he would be willing to die. And it was therefore only in that moment of fear that he had become, once and for all, the father of his son. Translating those forty or so fragments by Mallarme was perhaps an insignificant thing, but in his own mind it had become the equivalent of offering a prayer of thanks for the life of his son. A prayer to what? To nothing perhaps. To his sense of life. To the modern nothingness.
you can, with your little
hands, drag me
into the grave—you
have the right—
—I
who follow you, I, I
let myself go—
—but if you
wish, the two
of us, let us make …
an alliance
a hymen, superb
—and the life
remaining in me
I will use for ——
*
no—nothing
to do with the great
deaths—etc.
—as long as we
go on living, he
lives—in us
it will only be after our
death that he will be dead
—and the bells of the Dead
will toll for
him
*
sail—
navigates
river,
your life that
goes by, that flows
*
Setting sun
and wind
now vanished, and
wind of nothing
that breathes
(here, the modern
nothingness)
*
death—whispers softly
—I am no one—
I do not even know who I am
(for the dead do not
know they are
dead—, nor even that they
die
—for children at least
—or
heroes—sudden
deaths
for otherwise my beauty is
made of last
moments—
lucidity, beauty
face—of what would be
me, without myself
*
Oh! you understand
that if I consent
to live—to seem
to forget you—
it is to
feed my pain
—and so that this apparent
forgetfulness
can spring forth more
horribly in tears, at
some random
moment, in
the middle of this
life, when you
appear to me
*
true mourning in
the apartment
—not cemetery—
furniture
*
to find only
absence—
—in presence
of little clothes
—etc—
*
no—I will not
give up
nothingness
father—I
feel nothingness
invade me
Brief commentary on the wo
rd “radiance.”
He first heard this word used in connection with his son when he had shown a photograph of the boy to his good friend, R., an American poet who had lived for eight years in Amsterdam. They were drinking in a bar that night, surrounded by a press of bodies and loud music. A. pulled the snapshot out of his wallet and handed it to R., who studied the picture for a long time. Then he turned to A., a little drunk, and said with great emotion in his voice: “He has the same radiance as Titus.”
About one year later, shortly after the publication of “A Tomb for Anatole” in the Paris Review, A. happened to be visiting R. R. (who had grown extremely fond of A.’s son) explained to A.: “An extraordinary thing happened to me today. I was in a bookstore, leafing through various magazines, and I happened to open the Paris Review to a photograph of Mallarme’s son. For a second I thought it was your son. The resemblance was that striking.”
A. replied: “But those were my translations. I was the one who made them put in that picture. Didn’t you know that?”
And then R. said: “I never got that far. I was so struck by the picture that I had to close the magazine. I put it back on the shelf and then walked out of the store.”
His grandfather lasted another two or three weeks. A. returned to the apartment overlooking Columbus Circle, his son now out of danger, his marriage now at a permanent standstill. These were probably the worst days of all for him. He could not work, he could not think. He began to neglect himself, ate only noxious foods (frozen dinners, pizza, take-out Chinese noodles), and left the apartment to its own devices: dirty clothes strewn in a bedroom corner, unwashed dishes piled in the kitchen sink. Lying on the couch, smoking cigarette after cigarette, he would watch old movies on television and read second-rate mystery novels. He did not try to reach any of his friends. The one person he did call—a girl he had met in Paris when he was eighteen—had moved to Colorado.
One night, for no particular reason, he went out to wander around the lifeless neighborhood of the West Fifties and walked into a topless bar. As he sat there at his table drinking a beer, he suddenly found himself sitting next to a voluptuously naked young woman. She sidled up to him and began to describe all the lewd things she would do to him if he paid her to go to’ ‘the back room.’’ There was something so openly humorous and matter-of-fact about her approach, that he finally agreed to her proposition. The best thing, they decided, would be for her to suck his penis, since she claimed an extraordinary talent for this activity. And indeed, she threw herself into it with an enthusiasm that fairly astonished him. As he came in her mouth a few moments later, with a long and throbbing flood of semen, he had this vision, at just that second, which has continued to radiate inside him: that each ejaculation contains several billion sperm cells—or roughly the same number as there are people in the world—which means that, in himself, each man holds the potential of an entire world. And what would happen, could it happen, is the full range of possibilities: a spawn of idiots and geniuses, of the beautiful and the deformed, of saints, catatonics, thieves, stock brokers, and high-wire artists. Each man, therefore, is the entire world, bearing within his genes a memory of all mankind. Or, as Leibniz put it: “Every living substance is a perpetual living mirror of the universe.” For the fact is, we are of the same stuff that came into being with the first explosion of the first spark in the infinite emptiness of space. Or so he said to himself, at that moment, as his penis exploded into the mouth of that naked woman, whose name he has now forgotten. He thought: the irreducible monad. And then, as though taking hold of it at last, he thought of the furtive, microscopic cell that had fought its way up through his wife’s body, some three years earlier, to become his son.
Otherwise nothing. He languished. He sweltered in the summer heat. Like some latter-day Oblomov curled on his couch, he did not move unless he had to.
There was a cable television in his grandfather’s apartment, with more channels that A. had ever known existed. Whenever he turned it on, there seemed to be a baseball game in progress. Not only was he able to follow the Yankees and Mets of New York, but the Red Sox of Boston, the Phillies of Philadelphia, and the Braves of Atlanta. Not to speak of the little bonuses occasionally provided during the afternoon: the games from the Japanese major leagues, for example (and his fascination with the constant beating of drums during the course of the game), or, even more strangely, the Little League championships from Long Island. To immerse himself in these games was to feel his mind striving to enter a place of pure form. Despite the agitation on the field, baseball offered itself to him as an image of that which does not move, and therefore a place where his mind could be at rest, secure in its refuge against the mutabilities of the world.
He had spent his entire childhood playing it. From the first muddy days in early March to the last frozen afternoons of late October. He had played well, with an almost obsessive devotion. Not only had it given him a feeling for his own possibilities, convinced him that he was not entirely hopeless in the eyes of others, but it had been the thing that drew him out from the solitary enclosures of his early childhood. It had initiated him into the world of the other, but at the same time it was something he could also keep within himself. Baseball was a terrain rich in potential for revery. He fantasized about it continually, projecting himself into a New York Giants uniform and trotting out to his position at third base in the Polo Grounds, with the crowd cheering wildly at the mention of his name over the loudspeakers. Day after day, he would come home from school and throw a tennis ball against the steps of his house, pretending that each gesture was a part of the World Series game unfolding in his head. It always came down to two outs in the bottom of the ninth, a man on base, the Giants trailing by one. He was always the batter, and he always hit the game-winning homerun.
As he sat through those long summer days in his grandfather’s apartment, he began to see that the power of baseball was for him the power of memory. Memory in both senses of the word: as a catalyst for remembering his own life and as an artificial structure for ordering the historical past. 1960, for example, was the year Kennedy was elected president; it was also the year of A.’s Bar Mitzvah, the year he supposedly reached manhood. But the first image that springs to his mind when 1960 is mentioned is Bill Mazeroski’s homerun that beat the Yankees in the World Series. He can still see the ball soaring over the Forbes Field fence—that high, dark barrier, so densely cluttered with white numbers—and by recalling the sensations of that moment, that abrupt and stunning instant of pleasure, he is able to re-enter his own past, to stand in a world that would otherwise be lost to him.
He reads in a book: since 1893 (the year before his grandfather was born), when the pitcher’s mound was moved back ten feet, the shape of the field has not changed. The diamond is a part of our consciousness. Its pristine geometry of white lines, green grass, and brown dirt is an icon as familiar as the stars and stripes. As opposed to just about everything else in American life during this century, baseball has remained constant. Except for a few minor alterations (artificial turf, designated hitters), the game as it is played today is remarkably similar to the one played by Wee Willie Keeler and the old Baltimore Orioles: those long dead young men of the photographs, with their handlebar moustaches and heroic poses.