 |
| An
excerpt from Andre Dubus III's |
| House
of Sand and Fog |
Andre Dubus
III interviewed
|
Saturday
afternoon I drive my Naderah to San Francisco to have her hair done by an Italian
kunee who charges more than we should pay. His business is located in Ghirardelli
Square amongst all the specialty shops, restaurants, cafés, and galleries
whose doors are open to touring people from all over the world. In the morning
I trimmed the rear hedge bushes and I am still dressed in the cargar clothes
I before would wear only for the Highway Department, so I do not enter the Italian's
shop, knowing, as I do, the many Persian wives who make appointments with him.
I
sit upon a bench in one of the lower courtyards and watch the people pass by.
Over our bungalow in Corona the sun was shining, but here in the city, in that
area of large piers and wharfs they call North Beach, there is cool summer fog,
a fine mist in the air, and many of the tourists look out of place in their
short pants, sandals, and shirts with no sleeves that show the undisciplined
flesh of their bodies. Many of them pause in their shopping, asking one another
to take their photograph as they stand beneath a shop sign or in the center
of the courtyard, dozens of strangers walking by them. I hear the speech of
Orientals, Greeks, Germans, and French. But the majority are the more large,
more fed, pink-in-the-face Americans, who carry their shopping bags, eating
ice cream cones or drinking sweet sodas from cups as they walk past, their small
loud children leading them.
I
sit and I regard these cows, these radishes, and I again think to myself: These
people do not deserve what they have. When I first came to these United
States, I expected to see more of the caliber of men I met in my business dealings
in Tehran, the disciplined gentlemen of the American military, the usually fit
and well-dressed executives of the defense industry, their wives who were perfect
hostesses in our most lavish homes. And of course the films and television programs
imported from here showed to us only successful people: they were all attractive
to the eye, they dressed in the latest fashion, they drove new automobiles and
were forever behaving like ladies and gentlemen, even when sinning against their
God.
But
I was quite mistaken and this became to me clear in only one week of driving
my family up and down this West Coast. Yes, there is more wealth here than anywhere
in the world. Every market has all items well stocked at all times. And there
is Beverly Hills and more places like it. But so many of the people live in
homes not much more colorful than air base housing. Furthermore, those late
nights I have driven back to the pooldar apartment in Berkeley after working,
I have seen in the windows the pale blue glow of at least one television in
every home. And I am told that many family meals are eaten in front of that
screen as well. And perhaps this explains the face of Americans, the eyes that
never appear satisfied, at peace with their work, or the day God has given them;
these people have the eyes of very small children who are forever looking for
their next source of distraction, entertainment, or a sweet taste in the mouth.
And it is no longer to me a surprise that it is the recent immigrants who excel
in this land, the Orientals, the Greeks, and yes, the Persians. We know rich
opportunity when we see it.
Nadi
looks lovely as she exits the kunee's salon, her hair styled thick and black
around her face. She pauses to put the checkbook into the green alligator-skin
bag she purchased in Bahrain not long after our flight from home. She wears
a handsome green suit, the jacket buttoned at her waist that has grown too small
these days, her hips and legs as well--too thin. Even from where I sit I am
able to see the lines around her mouth and between her eyes above her nose.
My Nadereh is so easily made nervous. Even this intimate dinner party for our
daughter has tested her. And I have worried she may bring on one of her headaches
that send her to bed for hours, or days. But she is a beautiful woman, and I
rise to meet her in the crowded courtyard.
On
the drive south to Corona we stop at a florist's shop in Daly City and purchase
flowers Nadi chooses herself, so many they fill the large trunk space of the
Buick Regal. I am of course concerned about the money we are spending for this
affair; Nadereh also insisted on some of the finest champagne, three bottles
of Dom Perignon at well over one hundred dollars each. She even made telephone
calls in her questionable English to the city for finding Persian musicians
to play the kamancheh and domback for us, and I was relieved she found no one
at such short notice. But my Nadi appears quite contented. She sits beside me
as I drive down the coast highway into Corona, and she hums an old American
pop song I recognize about tying a yellow ribbon around a tree of oak. The sun
has remained in Corona, and now, two hours before the arrival of Soraya, it
shines on the green ocean, making it nearly too bright to view more than a second
or two.
"We will have a beautiful sunset for our guests, Nadi-jahn."
Nadereh
nods her head only very briefly before telling to me again the final list of
tasks to be completed in only the next hour: all the flowers must be arranged
around the home and above on the roof porch--this is what she calls it--amongst
the new outdoor furniture; our Waterford flutes must be dusted and properly
chilled in the freezer; you must set up the new tape player for music in the
living room; and make certain Esmail has put his room in order, bathed, and
dressed in his French-made suit. I nod my head and reply, "Baleh, baleh." Yes,
yes. But there is no need for me to listen any longer for I know the list very
well. As I accelerate the Regal up Bisgrove hill, I am thinking of my daughter
Soraya, of her small lovely face I will hold in my hands, and that is when I
see Esmail speaking with a young woman on our grass under the sun. Her hair
is straight and dark. She wears blue jeans and a white blouse, and there is
the red Bonneville I have seen before parked against the woodland. I steer into
the driveway and she regards me directly: it is the woman who last week was
sleeping in her automobile so early in the morning. Nadi touches my shoulder
and says to me in Farsi: "That is the woman who hurt her foot, Massoud."
I
extinguish the engine and tell to my wife yes, she has come for a tool her najar
boyfriend may have left behind; I've been expecting ler. I step out of the car
and walk over the cut grass smiling and extending my hand to the woman, who
hesitates a moment before taking it.
"I am happy you came." I take her by the elbow lightly. "Please, this way, I
will show you." I turn to my son and say low in Farsi, "Help your mother and
tell her nothing. Later I will explain."
Around
the bungalow's corner, at the stairs to the widow's walk, the woman to me says:
"I'm sorry, but I think you have me confused with someone else."
"No, I am quite certain who you are."
"I'm Kathy Nicolo." She to me offers her hand and I take it and release it quickly.
The sun is upon us and in this light her cosmetics stand out too much. She regards
the ground: "I know my lawyer talked to you, but I thought we could just meet
face to face, Mr. Bahrooni."
"My name is Behrani. Colonel Behrani."
The
woman inhales deeply and looks upon the new widow's walk. "My father left us
this house. He left it to me and my brother."
Esmail
appears carrying a large pot of chrysanthemums in his arms for the roof. I tell
to him to please rest them on the ground and go. He leaves and I say to this
woman: "I am sorry,, miss. But you should be telling these things to the bureaucrats
at the county tax office. They have made the mistake, not I."
"Yes, but they've already admitted it. They said they'd give you your money
back. Look, I know you put a new deck on; I'm sure they'll pay for that." The
woman pulls from her front pocket a package of cigarettes, lighting one with
a cheap plastic lighter. She inhales deeply upon it and I feel a hot impatience
begin to move inside me. I hear the water running in the kitchen sink. I look
at the window screen beneath the widow stairs, but it is shadowed and I cannot
see my wife inside. I step forward, hoping the woman will follow, but she does
not move. "I am sorry, miss, but as far as I am concerned I have nothing more
to say to anyone. Why should I be penalized for their incompetence? Tell me
that. You should sue them for enough money to buy ten homes. I will even sell
you this house for the right price. This is all I require." The rear
door to the bungalow opens and shuts and I take the woman's arm and begin walking
her back over the grass. "I am sorry, I do not know where he left his hammers."
The woman begins to pull away, but I squeeze her arm more tightly, stopping
in the center of the lawn under the sun. "My family knows nothing of this, miss.
There is nothing more to say of it."
"Let go of me." She pulls her arm free, her cigarette falling to the grass.
She steps backward, an incredulous expression upon her face. "You can't just
move in here and try and make money on this. That's not right!" I look once
back at the bungalow, then cross my arms over my chest, feeling the push of
my heart against them. The woman shouts at the unfairness of me, and she begins
to use profanity, but I only shake my head at her patiently; if Nadereh is watching
from the window, she will quickly believe what I tell her, that the najar's
girlfriend is crazy, deevoonay, thinking I am someone I am not.
The
woman abruptly stops, as if she has suddenly realized the futility of all she
is saying. She pulls her hair free of her face and she regards me for a long
moment, then she turns and hobbles back across the street to her expensive sedan.
I watch her turn the large car around, and as she drives down the hill, I step
on her smoking cigarette, crushing it beneath my shoe.
Excerpted from House
of Sand and Fog by Andre Dubus III. Copyright © 2000 by Andre Dubus
III. Excerpted by permission of Vintage. All rights reserved. No part of this
excerpt may be reproduced or reprinted without permission in writing from the
publisher.
Andre
Dubus III has worked for brief stints as a bounty hunter, private investigator,
carpenter, bartender, actor, and teacher. Much of House of Sand and Fog
was written in his car, which he often parked at a local cemetery in search
of quiet and solitude. Dubus's
work has been awarded a Pushcart Prize and the 1985 National Magazine Award
for Fiction. It has also been cited in The One Hundred Most Distinguished
Stories of 1993 and The Best American Short Stories of 1994. Dubus
lives in Newburyport, Massachusetts, with his wife, dancer/choreographer
Fontaine Dollas, and their three children.
Author
photo copyright © Marion Ettlinger
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