Q: A Love Story. Evan Mandery
Yet another path ends at a Zen waterfall.
I have endless questions for Q. With skyscrapers encroaching on every side, how does enough light get in to sustain the garden? Who built it? When? Who owns it now? How could its existence have been kept a secret? Why is it so warm? Why is it not overrun by city idiots, ruined like everything else? How is this miracle possible?
Q answers in the best way possible. She sits me down at the base of a pear tree—a pear tree in the middle of Manhattan!—kisses me passionately, and, oh God oh God, am I in love.
Chapter ONE
In the aftermath of the publication of my novel, Time’s Broken Arrow (Ick Press; 1,550 copies sold), a counterhistorical exploration of the unexplored potentialities of a full William Henry Harrison presidency, I experience a liberal’s phantasmagoria, what might be described as a Walter Mitty–esque flight of fancy if Thurber’s Mitty, dreamer of conquest on the battlefield and adroitness in the surgery, had aspired instead to acceptance among the intellectual elite of New York City, more specifically the Upper West Side, the sort who on a Sunday jaunt for bagels buy the latest Pynchon on remainder from the street vendor outside of Zabar’s, thumb it on the way home while munching an everything, and have the very best intentions of reading it.
I am on National Public Radio. It is putatively something of an honor because they do not often have novelists, except Salman Rushdie for whom NPR has always had a soft spot, but I know better. A friend of mine, a lawyer, has called in a favor from the host, whom he has helped settle some parking tickets. It is an undeserved and hence tainted tribute, but the moderator gives me the full NPR treatment all the same. He has read my opus cover to cover and asks me serious questions about several of the important issues raised in the book, including Harrison’s mistreatment of the Native Americans, problematic support for slavery in the Indiana Territory, and legendary fondness for pork products.
“Which was his favorite?” he asks.
“The brat,” I say.
“I have never had a brat.”
“That is too bad.”
“Is it like the knock?”
“No, it is much better.”
“I find that hard to believe.”
“It is nevertheless true,” I say. “It is the best of the wursts.”
The Fantasia for Clavichord in C Minor begins playing in the background, signaling the end of the interview. “I am afraid we are out of time,” says the host. “Is this not always the case? Just as things are getting interesting, time runs out.”
“It is always so,” I say, whereupon I am ushered out of the studio to the music of C. P. E. Bach.
The following morning my book is reviewed in the New York Times. To be fair, it is not a review per se. Rather, it is an oblique reference to my novel in a less than favorable discourse on the new Stephen King novel. Specifically, the critic writes, “The new King is frivolous claptrap, utterly predictable, surprising only for its persistent tediousness and the suddenness with which the author’s once discerning ear for a story has, as if touched by Medusa herself, turned to stone. The novel’s feeble effort at extrapolating from a counterhistorical premise as a means of commenting on modern society compares favorably only with the other drivel of this sort—I dare not call it a genre lest it encourage anyone to waste more time on such endeavors—including the profoundly inept Time’s Broken Arrow, surely one of the worst novels of the year.”
My publicist calls around nine o’clock and merrily inquires whether I have seen the mention in the morning’s paper. I say that I have.
“It’s a coup of a placement,” she says. “Do you know how difficult it is for a first-time novelist to get a mention in the Times?”
“A coup? She called my book one of the worst novels of the year. It isn’t even a review of my book. It’s just a gratuitous slight. It’s actually the worst review I have ever read, and she says my book is even worse still.”
“Don’t be such a Gloomy Gus,” says the perky publicist before she hangs up. “You know, any publicity is good publicity.”
I wonder about this. It seems too convenient.
Surely a plumber would not stand before a customer and a burst pipe, wrench in hand, sewage seeping onto the carpet, and proudly proclaim, “Any plumbing is good plumbing.”
I am out with Q at a restaurant in the Village. She is wearing her beauty casually, as she always does, draped like a comfortable sweater. She is full of life. The light from the flickering tea candle on the table reflects gently off her glowing face, and one can see the aura around her. She is glorious.
The tables are close together, virtually on top of one another. We are near enough to our neighbors that either Q or I could reach out and take the salt from their table without fully extending our arms. It is a couple. They are talking about us. I am so full of Q that I do not notice. She, though, is distracted.
“You two are in love,” the man says finally.
“Yes, we are,” says Q.
“It is lovely to see.”
“Thank you,” she says.
The woman, presumably the man’s wife, continues to stare at us. This goes on through the end of the main course, and dessert, and even after the second cup of coffee has been poured. At last she says, “You’re that novelist guy, aren’t you?”
“Yes,” I say, beaming.
“Wait a second, wait a second,” she says. “Don’t tell me.”
I smile.
“Let me guess. I know. I know.” She snaps her fingers and points: “John Grisham!” she cries.
“Yes,” I say. “Yes, I am.”
The Colbert Report has me as a guest. I am excited about the appearance. I have not seen the show, but my agent says it is popular with the sort of people who might read my book and, she says, the host is quite funny. She knows this will appeal to me, as it does. I am something of an amateur comedian, and as I wait for the show to begin, I envision snappy repartee.
In the green room, they have put out fruit. The spread consists of cantaloupe and honeydew and watermelon. I do not care for honeydew, but I respect it as a melon. The cantaloupe is luscious. The watermelon, however, is less impressive. It is a cheap crop, grown in China, and seems to me to have no place on a corporate fruit plate. I make a mental note to talk to one of the staff about this.
Approximately fifteen minutes before showtime, a production assistant enters the room and gives me some brief instructions. In a few minutes, they will take me onto the stage, where I will sit on the set until the interview begins. I will be on following a segment called “The Word.” Colbert will introduce me, and then she says—this is unusual—he will run over to greet me. Unfortunately, I either do not hear or do not understand this last instruction. I think she says that I should run over to meet him.
I am not sure why I get this wrong. I think most likely I just hear what I want to hear. I am a runner, and I conclude this will be a unique opportunity to demonstrate to a national audience my unique combination of speed and humor. I suppose I get caught up in all that.
Approximately twenty minutes into the show Colbert introduces me. He says, “My guest this evening is the author of the new novel, Time’s Broken Arrow, which the New York Times has praised as unique and singular.” He graciously omits the following word from the review—“bad.” He says, “Ladies and gentlemen, please welcome …”
At the sound of my name, I lower my head and break into a sprint. As I round the corner of the set, I see Colbert. He is merely in a light jog—he does this every night—but it is too late for either of us to stop. I make a last-ditch effort to veer to the left, but