What I Loved (6 page)

About two weeks after I took the photograph of Erica and Lucille, Sy
Wechsler
dropped dead of a heart attack. It happened early one evening after work while he was taking in the mail.
Wechsler
lived alone, and it was his brother Morris who found him the next morning, lying near the kitchen table with bills, a couple of business letters, and several catalogues on the floor beside him. No one had expected
Wechsler
to die. He did not smoke or drink, and he ran three miles a day. Bill and his Uncle Morris made the funeral arrangements, and Sy's youngest brother flew in from California with his wife and two children. After the funeral, Bill and Morris cleaned out the big house in South Orange, and when that task was over, Bill started drawing. He drew hundreds of pictures of his father, both from memory and from photographs. Bill had produced very little since his first show, not because he didn't want to work but because he needed to earn money. Two of the Violet paintings had sold to collectors, but the money they brought in had disappeared quickly. Once Bill knew he and Lucille were going to have a child, he had taken every plastering job he was offered, and after grinding days on a contracting site, he was often too tired to do anything but sleep. Sy
Wechsler
left
$300,000
to each of his sons, and with his share of the money, Bill transformed his life.

The loft above us at
27
Greene Street was up for sale. Bill and Lucille bought it, and by early August of
1977
they had moved in. The rent on the Bowery was low, and Bill kept it as his studio. The money, Bill told me, "will buy us time to do our own work." But that summer, Bill had few hours to spare for painting. All day, every day, he sawed, hammered, drilled, and breathed in dust. He erected
Sheetrock
walls in the raw space to make rooms. He laid tile in the bathroom once the plumber had installed the fixtures. He built closets and put in lights and hung the kitchen cabinets, and at night he would return to the Bowery and his sleeping wife and draw his father. It was grief as energy. Bill understood that his father's death had given him a new beginning and that the gargantuan physical labors of that summer were finally spiritual. He worked in the name of his father for his unborn son.

In early August, only days before Matthew was born, Bernie Weeks and I walked to the Bowery in the late afternoon to take a look at Bill's early plans for a new series of paintings
—
which were developing out of the drawings of his father. While Bernie was flipping through the drawings of Sy
Wechsler—
sitting, standing, running, sleeping
—
he paused at one and said, "You know, I had a nice conversation with your father once."

"At the opening," Bill said flatly.

"No, it was a couple of weeks after. He came back to look at the paintings. I recognized him, and we chatted for two or three
minutes."

In a startled voice, Bill said, "You met him in the gallery?"

"I thought you knew," Bernie said casually. "He was there for at least an hour. He took his time, going very slowly. He would look at one for quite a while and then move on to the next one."

"He went back," Bill said. "He went back and looked at them."

The story of his father's return visit to the Weeks Gallery never left Bill. It became the single concrete sign he had of his father's affection for him. Before that, Sy's long days at the box business, his appearances at the occasional Little League game, school play, or first art opening had had to suffice as markers of his father's paternal duty and goodwill. Bernie's story added a layer to Bill's internal portrait of his father. It also had the irrational effect of confirming his loyalty to the Weeks Gallery. Bill confused the messenger and the message, but it hardly mattered. As Bernie rocked back and forth on his heels in front of several mounted drawings of Sy
Wechsler
and ran his fingers through the keys and papers and debris that Bill said would be mounted onto the canvases, I sensed his excitement. Bernie was in for the long haul.

Birth is violent, bloody, and painful, and all the rhetoric to the contrary will not convince me that I am wrong. I have heard the stories of women squatting in the fields, snapping umbilical cords with their teeth, strapping their newborns onto their backs, and picking up the scythe, but I wasn't married to those women. I was married to Erica. We went to
Lamaze
classes together and listened attentively to Jean Romer's breathing advice. A stocky woman in
bermuda
shorts and thick-soled sneakers, Jean referred to birth as "the great adventure" and to the members of her class as "moms" and "coaches." Erica and I watched films of athletic, smiling women doing deep knee bends during their labors and breathing their babies out of them. We practiced panting and blowing as we silently corrected Jean's grammar every time she told us "to lay down on the floor." At forty-seven, I was the second-to-oldest father-to-be in the class. The oldest was a bullish man in his sixties named Harry who had been married before, had grown-up children, and was now working on his second child from his second wife, who looked like a teenager but was probably well into her twenties.

Matthew was born on August
12, 1977,
at St. Vincent's Hospital. I stood beside Erica and watched her agonized face, squirming body, and clenched fists. Every once in a while I reached for her hand, but she batted me away and shook her head. Erica did not scream, but down the hallway in another labor room, a woman shrieked and wailed at the top of her lungs, pausing only to swear both in Spanish and in English. She too must have had a "coach" with her, because after a few seconds of surprising silence, we heard her yell, "Fuck you, Johnny! Fuck you and your fucking breathing! You fucking breathe! I'm dying!"

Near the end, Erica's eyes took on a bright, ecstatic gleam. She clenched her teeth and growled like a animal when she was told to push. I stood beside the doctor in my surgical gown and watched the wet, bloody, black head of my son emerge from between Erica's legs, followed immediately by his shoulders and the rest of his bodv. I saw his bloated little penis, saw blood and fluid gush from Erica's closing vagina, heard Dr. Figueira say, "It's a boy," and felt dizzy. A nurse pushed me into a chair, and then I had my son in my arms. I looked down at his wrinkled red face and soft lopsided head and said, "Matthew Stein Hertzberg," and he looked me in the eyes and grimaced.

It had come to me late. I was a graying, wrinkling father of an infant son, but I took to parenthood with the enthusiasm of the long deprived. Matt was an odd little creature with thin red limbs, a purplish umbilical stump, and downy black hair on only part of his head. Erica and I spent a lot of time studying his peculiarities
—
his greedy slurping noises when he fed, his mustard-colored bowel movements, his waving arms and legs, and his absorbed staring, which suggested brilliance or idiocy, depending on how you looked at it. For about a week, she called him "our naked stranger," but then he became Matthew or Matt or Matty boy. In those first few months after he was born, Erica showed a competence and ease I hadn't seen in her before. She had always been nervous and excitable, and when she was really heated her voice would take on a shrill, anxious timbre, a register that affected me physically
—
as if someone were running a fork over my skin. But Erica had few outbursts during Matt's early days. She was almost serene. It was rather like being married all over again to someone slightly different. She never slept enough, and the skin beneath her eyes was dark with lack of sleep, but her features were milder than I had ever seen them. When she nursed Matt, she would sometimes look at me with a tenderness that was nearly painful in its intensity. Often, I was still reading in bed while Erica and Matt slept together beside me, his head on her breast as she held him. Even while she slept, she was aware of him and would wake to his smallest squeak. Sometimes, I would put down my book and look at the two of them in the light of my reading lamp. I now think I was lucky that I wasn't young. I knew what I might not have known earlier
—
that my happiness had come. I even told myself to fix the image of my wife and son in my mind while I watched them sleep, and it is still there, a clear picture left by my conscious wish. I can see Erica's profile on the pillow, her dark hair falling over her cheek, and Matt's little head, about the size of a grapefruit, turned in toward his mother's body.

We tracked Matt's development with the precision and attentiveness of Enlightenment scientists, noting each phase of his growth as if nobody had ever smiled, laughed, or rolled over before him. Erica once called me loudly to his crib, and when I arrived beside her, she pointed at our son and said, "Leo, look! I think he knows it's his foot. Look at the way he's sucking on his toes. He knows they belong to him!" Whether Matt had actually discovered the perimeter of his own body by then or not remained a moot point, but he increasingly became someone with a personality we could identify. He was not a loud person, but I suppose that if every time you utter a barely audible noise, one of your parents comes running, you do not become loud. For a baby he seemed weirdly compassionate. One evening when Matt was about nine months old, Erica was getting him ready for bed. She was carrying him around with her and opened the refrigerator to retrieve his bottle. By accident two glass containers of mustard and jam came with it and smashed on the floor. Erica had gone back to work by then, and her exhaustion got the better of her. She looked at the broken glass and burst into tears. She stopped crying when she felt Matt's small hand gently patting her arm in sympathy. Our son also liked to feed us
—
half-chewed bits of banana or pureed spinach or mashed carrots. He would come at me with his sticky fist and push the unsavory contents into my mouth. We read this as a sign of his generosity. From the time he could sit, Matt showed great powers of
concentration,
and when I saw other children his age, I found I hadn't exaggerated this trait. He had a long attention span, but he did not speak. He gurgled and babbled and pointed, but the words were very slow in coming.

When Erica returned to work, we hired a nanny for Matt. Grace Thelwell was both tall and fat, a woman in her fifties who had grown up in Jamaica. She had four adult children and six grandchildren and the posture of a queen. She walked noiselessly around our house, spoke in a low musical voice, and exuded a Buddha-like calm in the face of all agitation. Her refrain consisted of two words: "Never mind." When Matt cried, she would hold him and sing the words, "Never mind." When Erica rushed in after a day at Rutgers and ran into the kitchen, looking wild-eyed and harried, Grace would place a hand on her shoulder and say, "Never mind" before she helped Erica put the groceries away. When Grace came to us, her practical philosophy arrived with her, and it soothed all three of us
—
like a warm Caribbean breeze blowing through the rooms of the loft. She would always be Matt's fairy godmother, and the longer she was with us the more I felt that she was not an ordinary person but someone of feeling and intelligence, whose ability to distinguish between the important and the trivial often put me and Erica to shame.
When Erica and I went out in the evenings and Grace stayed home with Matt, we would return to find her sitting in his room while he slept. The lights were always out Grace did not read or knit or busy herself with anything. She sat in silence on a chair looking over him, content with the fullness of her own thoughts.

Mark
Wechsler
was born on August twenty-seventh. We were now two families, one on top of the other. Although the physical closeness made visiting easy, I saw Bill only a little more often than before. We loaned each other books, shared articles we had read, but our domestic lives were mostly contained within the walls of our separate apartments. All first babies shock their parents to one degree or another. Their demands are so urgent, their emotions run at such a high pitch that families close in on themselves to answer their calls. Bill would sometimes bring Mark with him to visit me when he returned home after a day at the studio. "Lucille's taking a nap," he would say. "She's exhausted," or, "I'm giving her a break. She needs silence." I accepted these comments without question, although I did hear the occasional note of worry in Bill's voice; but then he had always worried about Lucille. He was easy with his son, a small, blue-eyed version of himself who struck me as placid, well-fed, and slightly dopey. My obsessive interest in Matthew did not carry over to Mark, but the fact that Bill's affection for his own son was at least as passionate as mine for Matt solidified my sense that our lives were parallel
—
that in the hectic, grubby ordeal of caring for a baby, he and Lucille, like Erica and me, had discovered new strains of joy between them.

Only Lucille's weariness wasn't like Erica's. It had an existential cast
—
as though she suffered from more than being up at night. She didn't come to see me often, perhaps once every two months, and she always called days ahead of time to arrange the meeting. At the appointed time, I would open the door to find Lucille standing in the hallway with a sheaf of poems in her hand. She always looked pale and drawn and stiff. Her hair hung around her face uncombed, usually dirty. Mostly she wore jeans and old-fashioned blouses in dull colors, and yet her disheveled appearance didn't disguise her prettiness, and I admired her lack of vanity. I was always glad to see her, but Lucille's visits augmented Erica's feeling that Lucille had forgotten her. Lucille always greeted Erica politely. She would endure Erica's questions about Mark, answer them in curt, precise sentences, and then she would turn to me. Her economical but resonant poems were written in a voice of complete detachment. Inevitably they contained autobiographical references. In one poem a man and a woman lie beside each other in bed, unable to sleep, but neither one says a word to the other. They don't speak, out of deference to the other, but in the end, the woman feels the man's consideration as a presumption that he knows what she is thinking. Her annoyance with him keeps her awake long after he has gone to sleep. Lucille called the poem "Aware and Awake." A baby turned up in some works, a comic character referred to as "It." "It" wailed and clung and kicked and spat up, rather like a windup toy whose mechanism had gone haywire and couldn't be controlled. Lucille never acknowledged in any way that the poems were personal. She treated them as objects that might be remanipulated with my help. Her coolness fascinated me. Every once in a while she would smile to herself as she read a line, and I couldn't penetrate the source of her humor. While I sat next to her, I had the sense that she was always somewhere ahead of me, and that I was running after her. I would look down at the blond hairs on her slender arm and ask myself what it was about her I couldn't grasp.