Dad. William Wharton

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СКАЧАТЬ also runs a small vegetable garden, with Swiss chard, beets, tomatoes, lettuce, radishes, carrots; easy crops. Dad keeps this garden just for fun, says all those things are cheaper to buy than to grow but he gets a kick bringing homegrown vegetables into the kitchen.

      After dinner, Marty calls. She’s just come back from her gynecologist and knows she’s pregnant. They’ve been trying for two years and she’s so excited she can hardly tell me. I’m ecstatic! I’m going to be a grandfather! I put Dad on the line so she can tell him, too. He holds the phone out from his ear, listens, grins and nods his head. He doesn’t say anything more than grunts of pleasure and uh-huhs but he’s smiling his head off. Tears well up in his eyes, then run down the outside of his cheeks. It must be great for him being a potential great-grandfather, to know it’s going on some more.

      We put the phone down and look at each other. We’re both smiling away and wiping tears. It’s a big moment, too deep for us to even talk about.

      Dad gets up and turns on the TV, but I don’t feel like watching Merv Griffin pretend he’s talking to us. I’m itching to move; I want to work off my swelling restlessness.

      ‘Come on, Dad; let’s go out and celebrate!’

      ‘What do you mean, out, Johnny?’

      ‘I know a place, Dad. It’s down in Venice and it’s called the Oar House. Let’s go there.’

      ‘What! The what?’

      I say it clearly and laugh.

      ‘The Oar House, Dad: oar, O—A—R.’

      The Santa Monica chamber of commerce made such a fuss they took down the sign. There’s only a giant pair of crossed oars over the door now.

      This place has wall-to-wall stereo vibrating like a discotheque but with a terrific selection of music; music from the twenties to Country Western, rock and electronic moanings. They sell a pitcher of beer for a dollar and a half with all the popcorn and peanuts you can eat. There’s a barrel filled with roasted peanuts in the shell and an ongoing popcorn machine. A guy could probably live on beer, popcorn and peanuts, plenty of protein, carbohydrates, and corn’s a vegetable.

      But the best thing is the walls and ceilings. They’re covered with planned graffiti, and plastered, hung, decorated with the strangest collection of weird objects imaginable. There are Franklin stoves, bobsleds, giant dolls, bicycles, broken clocks, automobile parts. Everything’s painted psychedelic colors.

      On Friday and Saturday nights, people dance mostly barefoot. The floors are an inch thick with sawdust so it smells like a circus: sweat, peanuts and sawdust. The light is pinkish and constantly changing. It’s the kind of place I like, a good non-pressure feeling; run-down Victorian; an English pub gone pop. There’s something of an old Western bar, too.

      So we drive down; it’s near the beach about ten minutes from my folks’ house. Dad stops in the doorway and looks around.

      ‘My goodness, Johnny, these people are crazy. Look at that.’

      He points. There’s a doll hanging from the ceiling upside down without any hair and somebody painted her blue.

      ‘What’s that supposed to mean?’

      ‘Nothing, Dad, it’s only decoration.’

      I pick up a pitcher of dark beer and two cold frosted mugs at the bar. I steer Dad to my favorite booth in back, perfectly located for the sound system. In this spot you feel the sound’s coming right out of your head. I get handfuls of popcorn and peanuts, spread them on the table. The tabletop has a laminated picture of a girl in a very tempting pose. I hadn’t noticed that before. I’m seeing things differently, like going to a zoo with a child.

      We look out at the mob. There’s a fair amount of pushing and flirting going on; strictly a jeans-and-sweatshirt crowd. You’re supposed to be twenty-one to get into this place and they’re strict, but the girls look young. Then again, almost any woman under forty looks like a child to me these days.

      Dad’s watching all this. He hardly remembers to drink his beer.

      ‘Gosh, Johnny; this is better than Fayes Theatre in Philadelphia, back in the old days.’

      He swings his head around and laughs. He has a way of putting his hand over his mouth when he laughs, covering his teeth. Both Dad and I have separated front teeth; I mean a significant separation, about half a tooth wide. Dad’s incredibly sensitive about this. His father had it too, and I’m obstinate, or vain enough, to be proud of mine. I feel it’s a mark of the male line in our family. Still, neither Billy nor Jacky has it; Marty did, cost a small fortune in orthodontics bills. I even like separated teeth in women, but you can’t ask a girl to keep something like that if she doesn’t want to.

      Dad’s so embarrassed by his parted teeth he’ll never smile or laugh without putting his hand over his mouth; so he’s sitting there snickering behind his hand.

      We drink our beer slowly, listen to the music and watch the action for about an hour. We get home by ten. We’re both tired and manage somehow to climb into bed without turning on the TV.

      The next day things start fine. I hear Dad back there fumbling around dressing, making his bed. I do my yoga and sweep. By nine o’clock he’s out. He even finds his own medicine, then sits down for a big breakfast with me. All his movements are stepped up by about half. He’s sitting straighter, eating faster. I remember how when Dad was young he used to wolf his food; I wonder if he’ll go back to that.

      We even have a reasonable breakfast conversation. We talk about painting. Years ago, I gave Dad a box of paints. There was everything he’d need, including two middle-sized canvases.

      So Dad took up painting and did some of the most god-awful paintings I’ve ever seen. He framed them for Mom and they’re hung in the bedrooms.

      One trouble is Dad didn’t use the canvases I’d left. He said he was saving them; saving them for his great masterpiece, I guess. He went out and bought canvas board, crappy cotton canvas stretched over and glued to cardboard. These were all of about six inches by nine inches each. Dad sees paintings as hand made, hand-colored photographs. So he paints paintings the size of photographs. He paints from photographs, too. Nothing I say can get him to paint from nature or from his imagination. He wants something there he can measure.

      He did one painting of an Indian weaving on a vertical loom in the middle of a desert; all this on a canvas not bigger than a five-by-seven photograph. Dad is probably the twentieth-century master of the three-haired brush. This Indian picture is an outstanding example of eye-hand coordination; but it’s a perfectly lousy painting.

      He’s also done two paintings by the numbers. This is right up his line. The paintings are a reasonable size, maybe twelve by eighteen inches. One is The Sacred Heart, the other The Blessed Mother. He framed these, too; they’re hung in the side bedroom beside the bed where I’m sleeping. Again, he’s done an absolutely perfect job, perfect color matching, and he’s stayed completely inside the lines. These two could be used as models for a paint-by-the-number set.

      But this morning at breakfast he tells me his painting career is finished. It turns out he’s tried painting one of the San Fernando missions. For him it’s a grand affair, practically a mural, fifteen by twenty-four inches. I hope for a minute he’s really gone out to San Fernando but its another photograph. He shows СКАЧАТЬ