But I thought: He doesn’t, care a damn about her. He just doesn’t want me here, and I’m going to find out why.
“I’d better be getting back to Mrs. Fritts’s,” I said. “She’s expecting me for dinner.”
“You do that,” said Papa, and led me through the palatial house. It was empty, yet it held the evidence of many people — the yachts at the pier, different kinds of tobacco smoke, and something harder to explain, the immediate memory that rooms have for strangers who have passed through.
To get to the front vestibule we crossed a landing that surrounded a high wall. More paintings, more vases. Out the window I saw, enclosed by a wall, a tent being erected: roustabouts yanked on a great sail and hammered stakes into the ground.
“What’s that?”
“A tent,” said Mama.
“That Carney!” I said.
“Don’t cast nasturtiums,” said Papa. He nudged me past the window and hurried me on my way before I could take a picture.
18. Boarders
THE BUNGALOW Mrs. Fritts ran as a boarding house was just south of Verona, behind a palm grove that gave it the look of an oasis. In her neat garden was a twisted tree laden with elongated seed pods; she called it her cigar tree. The bungalow was furnished with upholstered chairs and carpets with floral designs like puked fricassees. On most walls were religious mottoes, THE LORD WILL PROVIDE and PUT ON THE WHOLE ARMOR OF GOD, and on one was a coconut carved into a monkey’s face. Mrs. Fritts said there were “scorpshuns” on the grounds. There were also sheds of various sizes — an ostrich in one, a kangaroo in another. These animals, and some others I knew only as stinks and nighttime coughs, she looked after for Millsaps Circus, which had its winter quarters in Verona proper. She was a tidy damp-eyed little woman, seventy-odd, who had ceased to see anything extraordinary in either the animals or the people she boarded, the circus’s overflow.
Perhaps they weren’t so odd, I decided on my third day. They hadn’t changed — my eye had. I saw them all over the house, Mr. Biker the dwarf who played “Daisy” on his ocarina and sat on three telephone books to eat; Orrie, whose hands grew out of his shoulders; the Flying Faffners, Kenny and Doris, who cycled on the high wire — but they did no tricks here and looked quite colorless hunched over their checkerboards. There was a man called “Digit” Taft, from Georgia, whose specialty was sticking his finger in the knothole of a horizontal board and kicking himself upright and balancing on that finger: he had a bird tattoo on his cheek, which flapped when he chewed gum. Harvey and Hornette were bareback riders; there were no horses in Mrs. Fritts’s sheds; Harvey and Hornette read comic books. They were all very strong: Digit could tear Mr. Biker’s phone books in half, and Hornette, a pretty girl of about sixteen, could get the caps off cherryade bottles with her teeth.
The group portrait I did of them, Boarders, was one of my best — another pictorial fluke in available light, since anyone’s Aunt Fanny could have done the same with a Baby Brownie.
They are solemn, the seven of them, plus Mrs. Fritts. Orrie is old, Mrs. Fritts in her frilly church dress. They stand together: it might be a family portrait, a Sunday on a southern porch, a gathering of the clan in summer dresses and white suits.
But you miss it entirely unless you linger for a fraction of a second, and having accepted it as a plain family you are shocked: the nipper is not a nipper, that old man has hands but no arms, the shadow on that other man’s cheek is a bird tattoo, and those girls, Doris and Hornette, have muscular trapeze artist’s shoulders. Behind Mrs. Fritts, reflected on the parlor window, is the most bizarre detail, an ostrich, but so faint you won’t see it until you’ve seen the others. The picture celebrates the unexpected, as one person after the other is revealed. You accepted it from the first, deceived yourself into thinking you had seen it before. Yet my object was not to mock or trick the viewer, but to hasten his understanding and impel him to look for more: Digit’s thick finger, Mr. Biker’s kindly eyes, Hornette’s shanks, the weary dignity on the face of Mrs. Fritts, maybe the ostrich. Then it’s a family again. Looking at this picture ought to be like reading a book, a time exposure, a lesson in seeing. The viewer goes away instructed. Nothing looks the same to him after that. The world hasn’t changed — he has.
I printed the picture, distributed it, and made eight friends. “You’re the best in the business,” said Hornette. And Mrs. Fritts said, “I hope you stay here a good long time.”
I told them I wasn’t down for long, but that I planned to go over to Carney’s. Mrs. Fritts’s face clouded.
“No,” she said. “You don’t want to do that. Stay away from there.”
“I want to do the pelicans,” I said.
“Ain’t them pelicans something?” she said. “I came down here in ’twenty-five and I still can’t get over them. But you do your pelicans somewhere else. That Carney’s a holy terror and his friends are worse.”
I didn’t say that my parents were there. I was ashamed of myself for being ashamed of them.
“He’s got a money machine up north,” said Mrs. Fritts. “But that’s all he’s got. Am I right, Biker?”
Mr. Biker, in his kiddie’s drawers, kicking his feet on the sofa, said in a high voice, “Something wrong with that boy!”
“Have you been over to his house?”
“Once a year. But that ain’t no house.”
Orrie came into the room, his fins flapping.
Mr. Biker said, “She wants to know about Carney.”
Orrie pushed his lips apart with his teeth and made a horrible face.
“See what I mean?” said Mrs. Fritts. “Now you keep away from there.”
Warning me about my own folks. I said, “I thought I might go down the coast to Boca Grande, too. Take some pictures. The sourbob trees. The old socks. The people crabbing.”
“What?” said Mrs. Fritts. She opened her mouth for my answer.
“The Indians and whatever.”
“That’s more like it,” said Mrs. Fritts. She spoke again to Mr. Biker: “She wants to go down to Boca Grande.”
“More like it,” screeched Mr. Biker. “But there ain’t nothing in Boca!”
He was wrong, of course. Boca Grande was a beautiful ruined town with sand on the tufty streets and crumble-marks all over the Spanishy buildings and decayed grillwork. In front of a grand old house a boogie-man sculpted a green urn in a hedge with his clippers. There were palms and clumps of hibiscus and fruit ripening in the still sultry air, and a fish and smoke smell that I badly wanted to photograph.
“Better shake a leg,” said Harvey, who had driven me down in his Nash with Hornette. “Looks like it’s going to rain.”
“Really?” I said, because it was sunny. But he pointed out the storm sliding darkly in from the Gulf like a blimp in a shroud. “I think I’ll wait for it.”
Harvey laughed and kept telling Hornette he’d never seen no photographer wait for no damn rainpour. When it started crackling on the tin roofs and swishing the shutters and flooding the street — so loud Harvey was hollering in my ear — I set up my Speed Graphic under a storefront’s awning and did the children on the opposite veranda watching the darts come down and the electrocutions overhead.
It was gone in minutes, leaving drops still streaking in shining threads, but by then it had turned into a Walker Evans, so I suggested we move on before it became an Ansel Adams. We went to the potash depot where there were boogie-men with rags on their heads. I did them walking among the palms, their bright footprints in the sodden sand. The rain had not seeped down far and just under the dark surface it was dry where their feet pawed it into patterns. They were rather silent, these blacks, and wouldn’t come near me, although they could see what I was doing.