Emerz' eyes are bleary and his phone is running on empty. We're squeezing grapefruits and the shrill tones of his ring call out and he trudges to the charger, asks to call her back on the land line. Land lines are appropriate: homey and wintry, a solid footing for a time of transitions. Kim needs Emerz now more than ever. She didn't like New Orleans. She couldn't stand the smell of the astroturf, the winking cheerleaders with pneumatic everythings, the low-lying skyline, the above-ground tombs, the carnies, the trannies, the Sandusky gentlemen. The mini-lobsters ("crawfish," mouths Emerz), the costume jewelery, the Sarajevo hangovers, inevitably waking to see the city bombed-out and splattered, neon lights cackling in the wet heat of midday. There was no ocean, only an earth-toned gurgling brook that hummed like radio static.
And Reggie would always leave the TV on in his cream-colored condo so she would wake at 5 am to a blaring repetition, the DVD Menu of Blue Streak or The Players Club or Booty Call and once, bizarrely, she thought, The Woodsman. She watched part of that, she loved Footloose growing up, but all she got were jittery nightmares, strangers lurking in shadows in seasonally inappropriate overcoats whispering things through tall chainlink fences.
And she missed home, that set where they all live, where Brody has a key, he's probably making a sandwich right now, his head deep in the fridge, a towel wrapped like a snake around his neck, water dripping from the hems of his trunks.
It wasn't all bad, says Emerz. Reggie had the hands of a baker, kneading and kneading until the ripples ran smooth. But New Orleans was too pleased with its imperfections, Kim told him. Where are their values? Where are their eyebrow threaders? And they can't throw a funeral worth a goddamn. What can she say? There was a carousel, but all the horses ran away.