Authors: John Fante
She looked up at me, saw me there with eyes closed, and she didn't know my thoughts. But maybe she did. Maybe that was why she said, 'You're tired. You must take a nap.' Maybe that was why she pulled down the Murphy bed and insisted that I lie upon it, she beside me, her head in my arms. Maybe, studying my face, that was why she asked, 'You love somebody else?'
I said, 'Yes. I'm in love with a girl in Los Angeles.' She touched my face. 'I know,' she said. 'I understand.' 'No you don't.'
Then I wanted to tell her why I had come, it was right there at the tip of my tongue, springing to be told, but I
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knew I would never speak of that now. She lay beside me and we watched the emptiness of the ceiling, and I played with the idea of telling her. I said, 'There's something I want to tell you. Maybe you can help me out.' But I got no farther than that. No, I could not say it to her; but I lay there hoping she would somehow find out for herself, and when she kept asking me what it was that bothered me I knew she was handling it wrong, and I shook my head and made impatient faces. 'Don't talk about it,' I said. 'It's something I can't tell you.'
'Tell me about her,' she said.
I couldn't do that, be with one woman and speak of the wonders of another.
Maybe that was why she asked, 'Is she beautiful?' I answered that she was.
Maybe that was why she asked, 'Does she love you?' I said she didn't love me.
Then my heart pounded in my throat, because she was coming nearer and nearer to what I wanted her to ask, and I waited while she stroked my forehead.
'And why doesn't she love you?'
There it was. I could have answered and it would have been in the clear, but I said, 'She just doesn't love me, that's all.'
'Is it because she loves somebody else?'
'I don't know. Maybe.'
Maybe this and maybe that, questions, questions, wise, wounded woman, groping in the dark, searching for the passion of Arturo Bandini, a game of hot and cold, with Bandini eager to give it away. 'What is her name?'
'Camilla,' I said.
She sat up, touched my mouth.
'I'm so lonely,' she said. 'Pretend that I am she.'
'Yes,' I said. 'That's it. That's your name. It's Camilla.'
I opened my arms and she sank against my chest.
no
JOHN FANTE
'My name is Camilla,' she said.
'You're beautiful,' 1 said. 'You're a Mayan princess.'
'I am Princess Camilla.'
'All of this land and this sea belongs to you. All of California. There is no California, no Los Angeles, no dusty streets, no cheap hotels, no stinking newspapers, no broken, uprooted people from the East, no fancy boulevards.
This is your beautiful land with the desert and the mountains and the sea.
You're a princess, and you reign over it all.'
'I am Princess Camilla,' she sobbed. 'There are no Americans, and no California. Only deserts and mountains and the sea, and I reign over it all.'
'Then I come.'
'Then you come.'
'I'm myself. I'm Arturo Bandini. I'm the greatest writer the world ever had.'
'Ah yes,' she choked. 'Of course! Arturo Bandini, the genius of the earth.' She buried her face in my shoulder and her warm tears fell on my throat. I held her closer. 'Kiss me, Arturo.'
But I didn't kiss her. I wasn't through. It had to be my way or nothing. 'I'm a conqueror,' I said. 'I'm like Cortes, only I'm an Italian.'
I felt it now. It was real and satisfying, and joy broke through me, the blue sky through the window was a ceiling, and the whole living world was a small thing in the palm of my hand. I shivered with delight.
'Camilla, I love you so much!'
There were no scars, and no desiccated place. She was Camilla, complete and lovely. She belonged to me, and so did the world. And I was glad for her tears, they thrilled me and lifted me, and I possessed her. Then I slept, serenely weary,
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remembering vaguely through the mist of drowsiness that she was sobbing, but I didn't care. She wasn't Camilla anymore. She was Vera Rivken, and I was in her apartment and I would get up and leave just as soon as I had had some sleep.
She was gone when I woke up. The room was eloquent with her departure. A window open, curtains blowing gently. A closet door ajar, a coat-hanger on the knob. The half-empty glass of milk where I had left it on the arm of the chair.
Little things accusing Arturo Bandini, but my eyes felt cool after sleep and I was anxious to go and never come back. Down in the street there was music from a merry-go-round. I stood at the window. Below two women passed, and I looked down upon their heads.
Before leaving I stood at the door and took one last look around the room. Mark it well, for this was the place. Here too history was made. I laughed. Arturo Bandini, suave fellow, sophisticated; you should hear him on the subject of women. But the room seemed so poor, pleading for warmth and joy. Vera Rivken's room. She had been nice to Arturo Bandini, and she was poor. I took the small roll from my pocket, peeled off two one dollar bills, and laid them on the table. Then I walked down the stairs, my lungs full of air, elated, my muscles so much stronger than ever before.
But there was a tinge of darkness in the back of my mind. I walked down the street, past the Ferris Wheel and canvassed concessions, and it seemed to come stronger; some disturbance of peace, something vague and nameless seeping into my mind. At a hamburger stand I stopped and ordered coffee. It crept upon me — restlessness, the loneliness. What was the matter? I felt my pulse. It was good. I blew on the coffee and drank it: good coffee. I searched, felt the fingers
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of my mind reaching out but not quite touching whatever it was back there that bothered me. Then it came to me like crashing thunder, like death and destruction. I got up from the counter and walked away in fear, walking fast down the boardwalk, passing people who seemed strange and ghostly: the world seemed a myth, a transparent plane, and all things upon it were here for only a little while; all of us, Bandini, and Hackmuth and Camilla and Vera, all of us were here for a little while, and then we were somewhere else; we were not alive at all; we approached living, but we never achieved it. We are going to die.
Everybody was going to die. Even you, Arturo, even you must die.
I knew what it was that swept over me. It was a great white cross pointing into my brain and telling me I was a stupid man, because I was going to die, and there was nothing I could do about it.
Mea culpa, mea culpa, mea maxima
culpa.
A mortal sin, Arturo. Thou shalt not commit adultery. There it was, persistent to the end, assuring me that there was no escape from what I had done. I was a Catholic. This was a mortal sin against Vera Rivken.
At the end of the row of concessions the sand beach began. Beyond were dunes. I waded through the sand to a place where the dunes hid the boardwalk.
This needed thinking out. I didn't kneel; I sat down and watched the breakers eating the shore. This is bad, Arturo. You have read Nietzsche, you have read Voltaire, you should know better. But reasoning wouldn't help. I could reason myself out of it, but that was not my blood. It was my blood that kept me alive, it was my blood pouring through me, telling me it was wrong. I sat there and gave myself over to my blood, let it carry me swimming back to the deep sea of my beginnings. Vera Rivken, Arturo Bandini. It was not meant that way: it ASK THE DUST
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was never meant that way. I was wrong. I had committed a mortal sin. I could figure it mathematically, philosophically, psychologically: I could prove it a dozen ways, but I was wrong, for there was no denying the warm even rhythm of my guilt.
Sick in my soul I tried to face the ordeal of seeking forgiveness. From whom?
What God, what Christ? They were myths I once believed, and now they were beliefs I felt were myths. This is the sea, and this is Arturo, and the sea is real, and Arturo believes it real. Then I turn from the sea, and everywhere I look there is land; I walk on and on, and still the land goes stretching away to the horizons. A year, five years, ten years, and I have not seen the sea. I say unto myself, but what has happened to the sea? And I answer, the sea is back there, back in the reservoir of memory. The sea is a myth. There never was a sea. But there
was
a sea! I tell you I was born on the seashore! I bathed in the waters of the sea! It gave me food and it gave me peace, and its fascinating distances fed my dreams! No Arturo, there never was a sea. You dream and you wish, but you go on through the wasteland. You will never see the sea again. It was a myth you once believed.-But, I have to smile, for the salt of the sea is in my blood, and there may be ten thousand roads over the land, but they shall never confuse me, for my heart's blood will ever return to its beautiful source.
Then what shall I do? Shall I lift my mouth to the sky, stumbling and burbling with a tongue that is afraid? Shall I open my chest and beat it like a loud drum, seeking the attention of my Christ? Or is it not better and more reasonable that I cover myself and go on? There will be confusions, and there will be hunger; there will be loneliness with only my tears like wet consoling little birds, tumbling to sweeten my
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dry lips. But there shall be consolation, and there shall be beauty like the love of some dead girl. There shall be some laughter, a restrained laughter, and quiet waiting in the night, a soft fear of the night like the lavish, taunting kiss of death.
Then it will be night, and the sweet oils from the shores of my sea, poured upon my senses by the captains I deserted in the dreamy impetuousness of my youth. But I shall be forgiven for that, and for other things, for Vera Rivken, and for the ceaseless flapping of the wings of Voltaire, for pausing to listen and watch that fascinating bird, for all things there shall be forgiveness when I return to my homeland by the sea.
I got up and plodded through the deep sand towards the boardwalk. It was the full ripeness of evening, with the sun a defiant red ball as it sank beyond the sea. There was something breathless about the sky, a strange tension. Far to the south sea gulls in a black mass roved the coast. I stopped to pour sand from my shoes, balanced on one leg as I leaned against a stone bench.
Suddenly I felt a rumble, then a roar. The stone bench fell away from me and thumped into the sand. I looked beyond to the Long Beach skyline; the tall buildings were swaying. Under me the sand gave way; I staggered, found safer footing. It happened again. It was an earthquake.
Now there were screams. Then dust. Then crumbling and roaring. I turned round and round in a circle. I had done this. I had done this. I stood with my mouth open, paralysed, looking about me. I ran a few steps towards the sea.
Then I ran back.
You did it, Arturo. This is the wrath of God. You did it. The rumbling continued.
Like a carpet over oil, the sea
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and land heaved. Dust rose. Somewhere I heard a booming of debris. I heard screams and then a siren. People running out of doors. Great clouds of dust.
You did it, Arturo. Up in that room on that bed you did it.
Now the lamp posts were falling. Buildings cracked like crushed crackers.
Screams, men shouting, women screaming. Hundreds of people rushing from buildings, hurrying out of danger. A woman lying on the sidewalk, beating it. A little boy crying. Glass splintering and shattering. Fire bells. Sirens. Horns.
Madness.
Now the big shake was over. Now there were tremors. Deep in the earth the rumbling continued. Chimneys toppled, bricks fell and a grey dust settled over all. Still the tremblers. Men and women running towards an empty lot away from buildings.
I hurried to the lot. An old woman wept among the white faces. Two men carrying a body. An old dog crawling on his belly, dragging his hind legs.
Several bodies in the corner of the lot, beside a shed, blood-soaked sheets covering them. An ambulance. Two high school girls, arms locked, laughing. I looked down the street. The building fronts were down. Beds hung from the walls. Bathrooms were exposed. The street was piled with three feet of debris.
Men were shouting orders. Each tremblor brought more tumbling debris. They stepped aside, waited, then plunged in again.
I had to go. I walked to the shed, the earth quivering under me. I opened the shed door, felt like fainting. Inside were bodies in a row, sheets over them, blood oozing through. Blood and death. I walked off and sat down. Still the temblors, one after another.
Where was Vera Rivken? I got up and walked to the street.
It had been roped off. Marines with bayonets patrolled the roped area. Far down the street I saw the building where Vera lived. Hanging from the wall, like a man crucified, was the bed. The floor was gone and only one wall stood erect. I walked back to the lot. Somebody had built a bonfire in the middle of the lot.
Faces reddened in the blaze. I studied them, found nobody I knew. I didn't find Vera Rivken. A group of old men were talking. The tall one with the beard said it was the end of the world; he had predicted it a week before. A woman with dirt smeared over her hair broke into the group. 'Charlie's dead,' she said. Then she wailed. 'Poor Charlie's dead. We shouldn't have to come! I told him we shouldn't a come!' An old man seized her by the shoulders, swung her around. 'What the hell you sayin'?' he said. She fainted in his arms.
I went off and sat on the kerb. Repent, repent before it's too late. I said a prayer but it was dust in my mouth. No prayers. But there would be some changes made in my life. There would be decency and gentleness from now on. This was the turning point. This was for me, a warning to Arturo Bandini.
Around the bonfire the people were singing hymns. They were in a circle, a huge woman leading them. Lift up thine eyes to Jesus, for Jesus is coming soon. Everybody was singing. A kid with a monogram on his sweater handed me a hymn book. I walked over. The woman in the circle swung her arms with wild fervour, and the song tumbled with the smoke towards the sky. The temblors kept coming. I turned away. Jesus, these Protestants! In my church we didn't sing cheap hymns. With us it was Handel and Palestrina.