In the Night Room

‘One of my books was an overpraised piece of crap?’

‘Yeah, imagine that.’

Smiling, Jasper Dan Kohle turned his head and watched rain bounce off the roofs of the cars inching down West Broadway.

‘You didn’t happen to look through that window and see me eating breakfast in here. You didn’t just want me to sign a couple of books. Are you even a real collector?’

‘I collect a lot of things,’ Kohle said, amused.

‘Why are you here, Jasper? If that’s your name.’

‘Don’t worry about my name, Mr Big-Time Author. Mr Fifty-five Grand Street.’ In his dark, greasy face, the yellow teeth crowded his mouth. ‘I yam what I yam, and that’s what I yam.’ He pushed the books into the bag, pulled the wet hood over his head, and rushed through the door. Tim watched him vanish into the gray street. This hostile being was walking away with samples of his handwriting. Tim felt a flicker of disquiet, as if his signature bore his DNA.

8

The author of In the Night Room was grateful for the medal it had won and the money it had earned, but she had written her third book as an act of rescue, not a means of achieving recognition. Thanks to James’s various life insurance policies, plus the fortune the Baltic Group had paid him in income and bonuses during his lifetime, money, very much a concern during the writing of Fairy Ring and The Golden Mountain, had ceased to be an issue. Her husband’s death payments had underwritten the months she had spent in western Massachusetts under the care of Dr Bollis and the quiet attendants never less than determined to give their charges what they needed: a comforting book, a comforting hug, or a comforting jab in the upper arm with a needle. Back then, nothing but bloody shreds seemed to remain of the once-familiar Willy. The bloody shreds were usually too limp and wounded to think about reassembling themselves. Her conscious life, the life of her spirit, had been murdered along with her family. For her first two months at the Institute, Willy had groped in darkness at the bottom of a well, grateful for the absence of light, too depleted to commit suicide. She was not wounded, she was a wound.

In Massachusetts, she had no visitors but visiting phantoms.

One day she walked into the dayroom, saw a familiar shape occupying a folding chair, looked more closely as fear moved toward her empty heart, and froze in shock at the reappearance in her life of Tee Tee Rowley, a flinty, sharp-fisted girl who, as ever, held her ground, scowling at Willy.

She had come from the Millhaven Foundlings’ Shelter, established in 1918 and everywhere referred to as either ‘the Children’s Home’ or, as its familiars knew it, ‘the Block.’ All in all, Willy had spent something like two and a half years ‘on the Block.’

Tee Tee Rowley, who stood five feet tall and weighed perhaps eighty pounds, responded to challenges by squaring up to them and suggesting her readiness to do anything necessary to instill respect in her challenger. Unlike some of her peers, Tee Tee did not default to crazed violence at the first sign of difficulty, but the willingness to employ craziness and destruction spoke from her posture, her eyes, the set of her mouth.

That of all her acquaintances from the Block the one to pay a phantom call should have been Tee Tee made perfect sense to Willy. It was to Tee Tee that Willy, who had begun to enjoy a small reputation as a storyteller, had told the best story of her young life.

From the first, Willy Bryce half-sensed, halfsuspected, and, she hoped, half-understood that she had not fully explored the dimensions of the inner life awakened by the books she devoured in the Block’s library: that it contained some element, some enigmatic quality that was of immense importance to her. Deep within, this unknown element shone.

Willy’s discovery of what the unknown element contained had led Tee Tee’s shade to appear. Willy had discovered how to save her own life.

This was how it happened: one day, tough, ten-year-old Tee Tee Rowley materialized before eight-year-old Willy Bryce in the second-floor lounge and asked her what the fuck she thought she was doing there anyhow, you fucking piece of shit. Instead of backing away and slinking off, Willy said, Listen to this, Tee Tee. And told her a story that almost instantly drew half a dozen other girls to that side of the lounge.

If she had stopped to think about what she was doing, doing it would have been impossible. But she did not have to think about the odd little tale. It spun itself out of the unknown element and gave her the right words, one after the other. She launched into the first real story of her life.

—When Little Howie Small stood before the ancient wizard and wiped the tears from his eyes, the first thing he noticed was that a sharp-eyed bird was peering out at him from within the wizard’s enormous beard.

And an entire adventure followed, a story involving an eagle and a bear and a furious river and a prince who rescued his princess-to-be with the aid of a walnut discovered by the bird who had been hiding in the wizard’s beard. The whole thing just rolled off Willy’s tongue as if it had all been written out in advance. Whenever she needed some new information or a fresh development, the perfect thing arrived at the proper moment to be inserted into a blank space exactly its size and shape.

—That was a real good story, said an astonished Tee Tee. You got any more like that?

—Tomorrow, Willy said.

Tomorrow came, and the day after tomorrow, and the day after that, and on each of them, day after day until she walked out of the Block for good, Willy entertained the Tee Tees and Raylettes and Georginas with episodes from the adventurous life of Little Howie Small. As far as she knew, the little person within her who had come into her own, the secret Willy, always told the truth. She was like Scheherazade, except at the time she was not fighting for her life.

That came twenty-nine years later, after her companion on the Block began calling on her in Massachusetts.

—You’re writing again, Willy? asked Dr Bollis. I think that’s excellent news. Is it a story, or is it about yourself ?

—You don’t know anything about fiction, Willy told him.

Dr Bollis smiled at her.—I do know how important it is to you. Will this one be like your others, or are you going to try something new?

Dr Bollis had let her believe that he had read her books. Willy thought he had probably read perhaps half of both of them.

—Something new, she said.

Her doctor gave her a look of careful neutrality.

—It’ll be good for me. It already is.

—Can you tell me what it’s about?

She frowned.

—Who’s the main character?

—A brave little person named Howie, she said, and immediately burst into tears. Willy had never told Dr Bollis that when her daughter, Holly, was first beginning to speak, and then for a long time after, she spoke of herself as ‘Howie.’ In fact, Willy tried never to speak of Holly to Dr Bollis.

Willy could remember writing very little of her third and most successful book. Much of what happened in the Institute had been a blur of smeary voices nattering on and on; the same blurriness took over when she thought about the beginning of her book, except that the incessant voices had been those of her characters. After she seemed to have recovered sufficiently from the shock of her great loss, she returned to New York feeling like an unpeeled egg. She settled herself back in her little apartment, where In the Night Room amplified itself into a kind of fever dream from which she awoke, dripping with sweat, pulse rocketing, only long enough to order Chinese food, do the crossword puzzle, or collapse into sleep. Once, on a slow day for both of them, she played Scrabble with her old, amusing college friend Tom Hartland, who wrote detective books for boys, and crushed him, pulverized him, left him gasping and bleeding on the board. She had met with her dead husband’s lawyers and discovered that she was, by almost anybody’s standards, wealthy; two or three times in that period, she had lunches or dinners with Molly Harper and Tom. (He had once told her that his greatest problem was keeping his boy hero from having sex with the other boys he met in the course of his investigations.) An utterly kind man, Tom came around four or five times to make sure Willy was eating—actually, he used his concern about her diet as his way of making sure she could keep herself together. And she was, largely due to her furious obsession with her book. Willy knew she was using the book as a kind of therapy, also as a way of shutting out the world, but it was as though she had no choice as to how these months were to be spent. In the Night Room had taken her over, demanding to be written. When people praised it to her, Willy felt as though she were being given credit for someone else’s accomplishment.

During one of their lunches, Tom Hartland told her, I wish I could write a book that way sometime.

—No you don’t, she said.

Tom knew nothing about Willy’s background. The facts of her childhood would have horrified him. The facts of her childhood would have horrified most of the people she called her friends. But not all of Willy’s childhood had been harsh and difficult: although the years from birth to the age of six, during which she had been a child living with her parents, had passed entirely from her memory, they had left behind a shimmer of warmth and vanished, never-to-be-replaced pleasure. Before her parents had been killed in an automobile accident, they had loved their daughter, they had cherished her. Willy knew this. As far as she was concerned, this shimmer—the glow of her earliest childhood—explained why, during the worst of her many wretched times, she had escaped descending into despair or madness.

9

Tim Underhill was like a kind of Scheherazade, telling stories to save his life. Fiction gave him entry into the worst and darkest places of his life, and that entry put the pain and fear and anger right in his own hands, where he could transform them into pleasure. In his youth he had been without direction, reckless, too loud, a real pain in the neck. After he let himself get drafted into Vietnam at the age of twenty-two, he reinvented himself based on the more obnoxious aspects of his character and became louder, profane, open to violence. He made a point of taking as his lovers slight, girlish young Vietnamese boys of eighteen or nineteen, whom he referred to as his ‘flowers,’ daring anyone to call him on it. He used drugs whenever they were available, and the drugs gave him the toxic gift of addiction. In these years, he told stories, but he never wrote them down. Salvation came after Vietnam, when he was living above the flower market in Bangkok and there began writing the dialogues with himself that eventually turned into stories and novels. And bit by bit the fiction let him straighten out his life. It allowed him to live many lives at once, all in the peace and seclusion of his little apartment.

After he had published half a dozen books and felt more or less healed, he left Thailand and moved to New York City. He had turned into a person for whom his younger self would have felt as much contempt as envy. He lived quietly and loved his friends, his nephew, his city. What this settled character felt for the desperate young man he had been was a mixture of pity, admiration, and regret so sharp it could nearly have drawn blood.

Throughout the war, Underhill’s belief in his ability to tell a story that would knock the eyes out of his audience’s heads had shaped his ambitions, and he had developed this talent in an ongoing tale he called ‘The Running Grunt.’ The characters of ‘The Running Grunt’ had populated many otherwise boring hours in the tents and various wastelands of Camp Crandall. But his storytelling career had been born not in Vietnam, he knew, but in Millhaven, rather, and in completely mundane circumstances.

He had been a senior at Holy Sepulchre, eighteen years old, wasting time one evening in the house of a good-looking, lively neighbor, Esti Woodbridge, whom he liked because she read a lot of books and attracted mean-spirited gossip about which she cared not a whit. He liked her six-year-old daughter, Marin, too. Marin Woodbridge was a seriously cool kid. Esti had something going in the kitchen that required unblinking attention, and Marin, left alone in the living room with Tim, wandered up to him and said, ‘If you could tell me a story, I bet it’d be pretty good.’ He heard Marin’s mother in the kitchen, laughing. ‘Well, let’s give it a try,’ he said, and opened his mouth—and what came out amazed him at every step, a lengthy, complicated story about a prince and a magic horse and a girl with long golden hair. Everything fell into place; nothing was left over or unresolved at the end. When he was finished, Marin grinned at him and Esti popped out of the kitchen to say, ‘Wow! Great story, Tim!’ Wow was what he thought, too. Where in the world had that come from?

Now he wondered if he would ever again know that surprised satisfaction. A great part of the reason Tim was wasting time on a lunatic book collector and fussing around with e-mails and virus protection had to do with avoiding actual work. Not only did he not feel comfortable with what he was writing, he was beginning to dislike it. Over the next few weeks, he hoped, this situation would change. When he found that he disliked what he was writing, he was writing the wrong things. He would be increasingly depressed until his story told him where it wanted to go.

He called up his document, but before a fresh sentence spoke itself in his mind, he saw Jasper Kohle seated across the table in the Fireside, saying, You don’t listen.

Listen to what?

He shook off the question and began to advance words across his screen.

10

The big house behind the gated wall at the end of Guilderland Road had required significant repairs at the time of purchase, mainly to the roof and the wraparound porch, and Mitchell’s current business trip had seemed to all parties an advantageous period in which to get as much done as possible. Perhaps rashly, Willy had supported this schedule, thinking that she would be able to keep an eye on things while she got a feel for the house she was going to share with her new husband. Now, as she drove through the gate to what might almost have been a construction site, Willy wished she had never agreed to camp out in the house while Mitchell cruised around Europe.

Two pickup trucks bristling with ladders and lengths of lumber stood on the patchy, soon-to-be-revitalized grass near the curving gravel drive. Short rows of roofing tiles lay near a tall ladder leaning against the left side of the house. A lot more lumber had been piled up on the far side of the house, and men with carpenter’s belts roamed across the roof and beneath the porch, hammering as they went. The branches of a Japanese maple half-obscured a third pickup. It belonged to the Santolini brothers, whom Mitchell had hired to doctor his property’s extensive trees, initially by hacking away the thick foliage that had grown up around them. Unlike Dellray Contractors—whose small army of worker ants had arrived in the other pickups—the Santolini brothers had only two employees, themselves. The day before, Willy had glanced out the kitchen window just in time to see Rocky Santolini smashing Vincent Santolini’s head into the trunk of the oak tree that dominated the great sweep of lawn to the right of the house. The Santolinis did that sort of thing all the time, it turned out; they got some kind of horrible pleasure from bloodying each other’s faces. Willy derived none from the sight of it. The idea that it might be her responsibility to terminate their brawls made her feel doomed and twitchy.

Entering the scene through the open garage door at the moment Willy rolled up alongside one of the Dellray pickups came scowling Roman Richard Spilka, Mitchell’s number two right-hand man, right behind lizardlike Giles Coverley. Spilka served as a sometime bodyguard and general—what was the word?—factotum. In his dark suits and T-shirts, Roman Richard looked as massive and sour as a bouncer at a Russian nightclub. The permanent three-day whiskers on his pasty jowls, his louring eyes, communicated intense moral authority. (Roman Richard had pulled the Santolinis apart within seconds.)

‘Put your car in the garage,’ Spilka said. ‘It’s gonna rain again. What were you doing, anyhow?’

I was going to liberate my dead daughter from a produce warehouse out on Union Street, she thought of saying. Then she considered telling him to mind his own business. Unfortunately, it had become clear that, in Roman Richard Spilka’s mind, monitoring Willy’s actions was one of his professional functions.

‘I went shopping,’ she said. ‘Would you care to inspect my bags?’

‘You should park in the garage,’ he said.

Willy drove past him and into the garage. Roman Richard watched as she got out of her car and moved around to the trunk to remove the grocery bags. For an awkward and uncomfortable moment, she imagined that he was going to offer to help her, but no, he was just having a Testosterone Moment. Roman Richard often glanced at her chest when he thought she wouldn’t notice, usually with a puzzled air she understood all too well. Roman Richard was wondering how Mitchell could be attracted to a woman with such an unremarkable chest.

To put him in his place, she asked, ‘Heard anything from the boss lately?’

‘He called while you were out. There’s probably a voice mail on your line.’

Shortly after buying the house, Mitchell had installed a complicated new telephone system. Willy had her own private line; they shared a joint line; Mitchell’s assistant, Giles Coverley, had a line that rang in his office; and a fourth line that was dedicated to Mitchell’s business calls rang everywhere in the house but Willy’s office. She was forbidden to use this line, as she was forbidden to enter Mitchell’s office, which took up most of the third floor. In the glimpse she had once been granted through a half-open door, the office looked old-fashioned, opulent in a leather-and-rosewood manner. That made perfect sense to Willy. If Mitchell Faber, who had the taste of someone who fears that he has no taste at all, were to redesign the world, he would make it look like one vast Polo advertisement.

Willy wasn’t sure how she felt about being forbidden entry to her future husband’s home office. Mitchell offered three excellent reasons for the prohibition, but the motive beneath two of the reasons sometimes troubled her. She did not want to be troubled by Mitchell. And all three reasons he had given her spoke to the protective role he had so willingly taken on. She might move papers around, thereby creating disorder; he did not want women in there at all, because women were distractions; having lived alone all his life, he needed some corner of the house that would be his alone. Without a private lair, he feared he might grow restless, irritable, on edge. So the first and third reasons had to do with shielding Willy from the consequences of neglecting Mitchell’s need for a single-occupancy foxhole, and the second was supposed to flatter her.

He had lived alone for his entire adult life, without parents, siblings, ex-wives, or children. Mitchell had invited only a small number of working colleagues to their wedding, plus, of course, Roman Richard and Giles Coverley. To Willy, his life seemed bizarrely empty. Mitchell had no friends, in the conventional sense. Maybe you could not be as paranoid as Mitchell was and maintain actual friendships.

Mitchell trusted no one absolutely, and the amount of provisional trust he was willing to extend did not go far. This, she suspected, was the real reason his re-creation of a men’s club lounge was closed to her. He did not trust her not to violate whatever confidentialities he kept in there, and his suspicion of her underlay the way in which he had concluded their single conversation about the matter.

He had intended to answer her still-lingering surprise at the prohibition with an inarguable case.

‘Do you print out hard copies of your writing as you go along?’ he asked.

‘Every day,’ she said.

‘Suppose you’re working on a new book, and the manuscript is on your desk. Suppose I happen to walk in and discover that you’re not there. How would you feel if I picked up the manuscript and started to read it?’

Knowing exactly what she would feel, she said nothing.

‘I can see it in your face. You’d hate it.’

‘I don’t know if “hate” is the word I’d use.’

‘We understand each other,’ Mitchell said. ‘This topic is now closed. Giles, would you please make some tea for my bride-to-be and myself ? We’ll take it on the porch.’

When the tea was steaming in the cups borne on the tray his assistant was carrying to the front door, Mitchell remembered that he had to field an important telephone call. He left her sitting on the porch by herself, the mistress of the wicker chair, a front yard festooned with pickup trucks, and two hot cups of English breakfast she had not wanted in the first place. Alone, she picked up the Times and blazed through the crossword in twenty minutes.

From the window in her second-floor office, Willy saw Roman Richard lumbering across the driveway to speak to one of the Dellray men, a carpenter with a beach-ball gut, a red mullet, and intricate tattoos on his arms. Soon they were laughing at a remark of Roman Richard’s. Willy had a strong, unpleasant impression that the remark concerned her. The two men glanced upward at her window. When they saw her looking down, they turned their backs.

Mitchell’s voice came through her voice mail, sounding a little weary, a little dutiful.

‘Hi, this is me. Sorry you aren’t picking up. Giles told me you’re home, so I was expecting to talk to you.

‘Let’s see, what can I tell you? I’m in Nanterre, just west of Paris. From the way things are going, I’ll be here another three, four days. The only thing that might keep me away is a development in Toledo. Spain, unfortunately, not Ohio. So, let’s see—if you need me, I’m at the Hôtel Mercure Paris La Défense Parc, and if I have to go to Toledo, I’ll be at the Hotel Domenico.

‘I talked to Giles about this, but I’ll mention it to you too. The Santolini brothers were making noises about taking a couple of limbs off the oak tree at the side of the house. I don’t want them to touch that tree until I get home. Okay, Willy? They’re just making work to drive up their fee. Giles knows what to do, but I want you to back him up on this, okay? That oak is one of the reasons I bought the estate in the first place.

‘And honey, listen, don’t worry about the wedding, hear me? I know it’s only two months away, but everything’s taken care of, all you have to do is shop for something pretty to wear. I set up an appointment for you at Bergdorf’s the day after tomorrow. Just drive into town, meet the lady, the personal shopper, buy whatever you like. Giles will give you all the details. Let him drive you in, if you feel like it. Enjoy yourself, Willy! Give yourself a treat.’

She heard a low voice in the background. It sounded self-consciously confidential, as if the speaker regretted breaking into Mitchell’s monologue. Against her wisest instincts, Willy suffered a brief mental vision of Mitchell Faber sitting up naked in bed while a good-looking woman, also naked, whispered in his ear.

‘Okay, look, I have to go. Talk to you soon, baby. Stay beautiful for me. Lots of love, bye.’

‘Bye,’ she said into the phone.

It was the longest message she had ever received from Mitchell, and at the sound of his voice she had experienced a peculiar range of emotions. Warmth was the first of these—Mitchell Faber aroused a flush of warmth at the center of her body. He had turned out to be a tireless, inventive lover. And with beautiful timing, the sense of safety Mitchell brought to her came obediently into play. Where there was Mitchell, MICHIGAN PRODUCE offered no threat; the mere sound of his voice banished craziness, which he would not tolerate. Also, the chaos of workmen, their tools and vehicles, no longer seemed a threat to her inner balance. Before the wedding, all this would pass; the Dellray men and the Santolini brothers would finish their work and depart.