Telegraph Avenue. Michael Chabon

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СКАЧАТЬ option play,” Nat said. “For a while there, he was pretty much impossible to sack.”

      Archy took the baby back from Nat Jaffe. “G Bad was a slippery motherfucker,” he agreed.

      Mr. Nostalgia, forty-four, walrus mustache, granny glasses, double-extra-large Reyn Spooner (palm trees, saw grass, woodies wearing surfboards), stood behind the Day-Glo patchwork of his five-hundred-dollar exhibitor’s table, across a polished concrete aisle and three tables down from the signing area, under an eight-foot vinyl banner that read MR. NOSTALGIA’S NEIGHBORHOOD, chewing on a Swedish fish, unable to believe his fucking eyes.

      “Yo!” he called out as the goon squad neared his table: two beefy white security guys in blue poly blazers and a behemoth of a black dude, Gibson Goode’s private muscle, whose arms in their circumference were a sore trial to the sleeves of his black T-shirt. “A little respect, please!”

      “Damn right,” said the man they were escorting from the hall, and as they came nearer, Mr. Nostalgia saw that it really was him. Thirty years too old, twenty pounds too light, forty watts too dim, maybe: but him. Red tracksuit a size too small, baring his ankles and wrists. Jacket waistband riding up in back under a screened logo in yellow, a pair of upraised fists circled by the words BRUCE LEE INSTITUTE, OAKLAND, CA. Long and broad-shouldered, with that spring in his gait, coiling and uncoiling. Making a show of dignity that struck Mr. Nostalgia as poignant if not successful. Everybody staring at the guy, all the men with potbellies and back hair and doughy white faces, heads balding, autumn leaves falling in their hearts. Looking up from the bins full of back issues of Inside Sports, the framed Terrible Towels with their bronze plaques identifying the nubbly signature in black Sharpie on yellow terry cloth as that of Rocky Bleier or Lynn Swann. Lifting their heads from the tables ranged with rookie cards of their youthful idols (Pete Maravich, Robin Yount, Bobby Orr), with canceled checks drawn on long-vanished bank accounts of Ted Williams or Joe Namath; unopened cello packs of ’71 Topps baseball cards, their fragile black borders pristine as memory, and of ’86 Fleer basketball cards, every one holding a potential rookie Jordan. Watching this big gray-haired black man they half-remembered, a face out of their youth, get the bum’s rush. That’s the dude from the signing line. Was talking to Gibson Goode, got kind of loud. Hey, yeah, that’s what’s-his-face. Give him credit, the poor bastard managed to keep his chin up. The chin—him, all right—with the Kirk Douglas dimple. The light eyes. The hands, Jesus, like two uprooted trees.

      “Consider yourselves fortunate, gentlemen,” Mr. Nostalgia called as they swept past his table. “That man could kill you with one finger if he wanted to.”

      “Awesome,” said the younger of the goons, head shaved clean as a porn star’s testicle. “Long as he buys a ticket first.”

      Mr. Nostalgia was not a troublemaker. He liked to smoke prescription indica, watch television programs about World War II, eat Swedish fish, and listen to the Grateful Dead, in any combination or grouping thereof. Undoubtedly, sure, he had issues with authority, his father a survivor of two camps, his mother a marcher on Washington, Mr. Nostalgia unfit to hold down any job requiring him to answer to a boss. Great as he might be in circumference, however, Mr. Nostalgia was only five-six, almost, in his huaraches, and not quite in fighting trim. His one reliable move, if you hoped to base a style of kung fu on it, you would probably have to go with Pill Bug. Mr. Nostalgia avoided beefs, quarrels, bar fights, and showdowns foreign and domestic. He deplored violence, except in 1944, in black and white, on television. He was a merchant of good reputation and long standing who had forked over a hefty fee to the organizers of the East Bay Sports and Card Show, some of which money had gone to pay for the protection, the peace of mind, that these goons in their blue blazers would, at least in theory, provide. And peace of mind, face it, was not merely a beautiful phrase; it was a worthy ambition, the aim of religions, the promise of underwriters. But Mr. Nostalgia, as he would afterward explain to his wife (who would sooner eat a bowl of mashed Ebola than attend another card show), was deeply outraged by the rough treatment to which a hero of his youth was being subjected, for no reason other than his having managed to ninja himself onto the floor of the Convention Center without a ticket. And so, on that Saturday morning in the Kaiser Center, Mr. Nostalgia surprised himself.

      He came out from behind the ramparts of his neighborhood—replete as a Vegas buffet with choice offerings in the nonsports line that he had made his specialty and métier, among them a complete set of the 1971 Bobby Sherman Getting Together cards, including the very tough number 54. Mr. Nostalgia moved with a stately glide that had led at least one uncharitable observer over the years to remark, seeing him go by in one of his floral numbers, that the Pasadena Rose Parade appeared to be missing a float.

      “Wait up, let me get the man a ticket,” he called after the retreating security escort.

      Gibson Goode’s bodyguard glanced over his shoulder for half a second, like he was verifying that he hadn’t just stepped in dog shit. The goons in the blue blazers kept walking.

      “Hey, yo!” Mr. Nostalgia said. “Come on! Hey, come on, you guys! That’s Luther Stallings.”

      It was Stallings who came to a stop first, digging in, bucking his captors, turning to confront his redeemer. The familiar smile—its charm gapped and stained by drugs or prison dentistry or maybe only by the kind of poverty that would lead you to try to skirt an eight-dollar admission fee—put an ache behind Mr. Nostalgia’s breastbone.

      “Thank you, my good man,” Stallings said. Ostentatious, showing up the goons. “My dear friend . . .”

      Mr. Nostalgia supplied his actual last name, which was long, Jewish, and comical, a name for a type of cheese or sour bread. Stallings repeated it flawlessly and without the hint of mockery that it typically inspired.

      “My friend here,” Stallings explained, shouldering free of the goons like an escape artist shrugging out of a straitjacket, “has kindly offered to float me the price of admission.”

      A slight rise in intonation at the end, almost putting a question mark there. Making sure he had his facts right.

      “Absolutely,” Mr. Nostalgia said. He remembered sinking deep into a greasy Herculon seat at the Carson Twin cinema, a Saturday afternoon thirty years ago, an elephant of joy sitting on his chest, watching a movie with a mostly black cast—it was a mostly black audience—called Night Man. In love with every single thing about that movie. The girl in her silver Afro. The hand-to-hand fighting. The funky soundtrack. A chase involving a green 1972 Saab Sonett driven at top speed through streets that were recognizably those of Carson, California. The gear, tackle, and explosives carried by the bank robbers. Above all, the movie’s star, loose-limbed, still, and taciturn like a McQueen hero and with the same willingness to look silly, which was another way of saying charm. And—indisputably, in 1973—a Master of Kung Fu. “It’s truly an honor.”

      The goons zoomed in on Mr. Nostalgia, training their scopes, scanning the green two-day exhibitor’s pass hanging from a lanyard around his neck. Faces going dull, losing some of their bored swagger as they tried to remember if there was anything about this type of situation in the official goon manual.

      “He was harassing Mr. Goode,” said Goode’s bodyguard, stepping in to shore up morale in the muscle department. “You buy him a ticket,” he told Mr. Nostalgia, “he just going to harass him some more.”

      “Harassing?” Luther Stalling said, wild with incredulity. Innocent of every crime of which he ever had or ever would be accused for all time. “How I’m harassing that man? I just want to get with him, have my thirty seconds at his feet, standing on line like everybody else. Get my autograph off him, go about my way.”

      “Straight autograph from Mr. Goode going to СКАЧАТЬ