Above the bar area there was a clock rotating in an openwork tower. From the table he could see through the bare trellis and clock framework to the elevators. He thought he could easily sit all afternoon watching the elevators rise and drop, clear pods ringed with pinpoint lighting. They moved soundlessly, clinging to the surface of a vast central cylinder. Everything was moving, everything was slowly turning, there was music coming from somewhere. He watched the people inside the elevators, deftly falling. High up, on the walkways, an occasional figure looking down, head and upper body. He wondered if the thing the woman tried to give him in the street might be a newborn child. The same musical phrase over and over, coming from somewhere.
'You photograph only writers now.'
'Only writers. I frankly have a disease called writers. It took me a long time to find out what I wanted to photograph. I came to this country it's fifteen years. To this city actually. And I roamed the streets first day, taking pictures of city faces, eyes of city people, slashed men, prostitutes, emergency rooms, forget it. I did this for years. Many times I used a wide-angle lens and pressed the shutter release with the camera hanging at my chest from a neck strap so I wouldn't attract the wrong kind of attention, thank you very much. I followed derelicts practically to their graves. And I used to go to night court just to look at faces. I mean New York, please, this is my official state religion. But after years of this I began to think it was somehow, strangely-not valid. No matter what I shot, how much horror, reality, misery, ruined bodies, bloody faces, it was all so fucking pretty in the end. Do you know? And so I had to work out for myself certain complicated things that are probably very simple. You reach a certain age, isn't that the way it works? Then you know what you want to do at last.'
She was eating roasted nuts from her loosely clenched fist, popping one at a time and drinking peppered vodka.
'But isn't it restful here?' he said. 'I'm mesmerized by the elevators. It might be a new addiction.'
'Give me a break,' she said, and her slight accent and the worn-out catch phrase and the formal way she offered it, without crunching the first two words together, made him very happy.
'Only writers.'
'Only writers,' she said.
'And you're making a record, a kind of census in still pictures.'
'I will just keep on photographing writers, every one I can reach, novelists, poets, playwrights. I am on the prowl, so to speak. I never stop traveling and taking pictures. This is what I do now. Writers.'
'Every face.'
'Every man and woman who is out there and who is reachable. If someone's not well known, so much the better. Given a choice, I prefer to search out writers who remain obscure. I get tips all the time, I get names and books from editors and other writers who understand what I'm doing or at least they say they do to make me feel better. A planetary record. For me, it's a form of knowledge and memory. I'm furnishing my own kind of witness. I try to do it systematically, country by country, but there are always problems. Finding some writers is a problem. And there are many writers in prison. This is always a problem. In some cases I've received permission to photograph writers under house arrest. People are starting to know me and this helps sometimes.'
'With authorities.'
'Yes, and writers. They're willing to see me because they know I'm simply doing a record. A species count, one writer said. I eliminate technique and personal style to the degree that this is possible. Secretly I know I'm doing certain things to get certain effects. But we ignore this, you and I. I'm four years on this project, which by its nature of course there is no end.'
'The question is, what happens to Bill's pictures?'
'This is completely up to you. I make some pictures available to publishers or the media but only if the writer gives consent. This is how I support the project, along with several grants. I have a travel grant I absolutely depend on. Magazines would do anything to run a photo essay on Bill Gray. But I don't want to do pictures that make a revelation, that say here he is after all these years. A simple study piece is better. I want to do pictures that are unobtrusive, shy actually. Like a work-in-progress. Not so permanent and finished. Then you look at the contacts and decide what you want me to do with them.'
'These are the answers we were hoping to get.'
'Good. So life goes on.'
'And what happens ultimately to your pictures of writers as a collection?'
'Ultimately I don't know. People say some kind of gallery installation. Conceptual art. Thousands of passport- size photos. But I don't see the point myself. I think this is a basic reference work. It's just for storing. Put the pictures in the basement of some library. If people want to look, they come and ask. I mean what's the importance of a photograph if you know the writer's work? I don't know. But people still want the image, don't they? The writer's face is the surface of the work. It's a clue to the mystery inside. Or is the mystery in the face? Sometimes I think about faces. We all try to read faces. Some faces are better than some books. Or put the pictures in a space capsule, that would be fantastic. Send them into space. Greetings. We are writers of Earth.'
The elevators climb and fall, the clock rotates, the bar slowly turns, the signs appear once more, the traffic lights change, the yellow taxis come and go. Magno, Minolta, Kirin, Sony, Sun-tory. What does Bill say? The city is a device for measuring time.
'There are kids up there. See them? Around the twentieth floor. Can you believe it?'
'It's safer than the streets. Leave them alone,' she said.
'The streets. I guess I'm ready now.'
'Then we'll go.'
They found the car and Scott drove north along the Hudson and across the bridge at Beacon into dusk and secondary roads, connecting briefly with the thruway and then dropping into networks of two-lane blacktops, hours into night, the landscape reduced to what appears in headlights, to curves and grades and the signs for these, and there were dirt roads and gravel roads and old logging trails, there were steep hills and the sleet-spray of pebbles firing up at the car, there were pine stands lit by the moon. Two near strangers in night confinement inside the laboring drone of the small car, coming out of long silences to speak abruptly, out of long thoughts and memory chains and waking dreams and every kind of mindlife, the narrative that races just behind the eyes, their words sounding clean and shaped in the empty night.
'I feel as if I'm being taken to see some terrorist chief at his secret retreat in the mountains.'
'Tell Bill. He'll love that,' Scott said.
The room was dark and the man stood at the window waiting for headlights to appear at the top of the hill and weave across the field, across the tree stumps and bent stalks and rock debris. It was not eager or needful waiting but only a sense that the thing was about to happen and if he stood here a moment longer he would see the car turn into the rutted lane, a wobbly shadow set behind the lights, and come down the hill toward the house, taking on dimension. He resolved to count to ten and if the lights did not appear he would go to the desk and turn on the lamp and do some work, going over what he'd written during the day, the scant drip, the ooze of speckled matter, the blood sneeze, the daily pale secretion, the bits of human tissue sticking to the page. He counted to ten and when no lights showed he began to count to ten once more, slower now, standing in the dark, making an agreement with himself that this time he would really go to the desk and turn on the lamp if the car did not appear at the top of the hill by the time he reached ten, the mud-spattered compact, and settle down to work because it was only children who thought they could make things happen by counting, and he went to ten one more time and then one more time and then just stood watching until the headlights finally showed, splashy white, the car dipping off the rim of the hill and the lights sweeping briefly across the scrub, and strange children at that, the squinters and crappers, the ones who ball up their fists when they cry.
The car moved into the glow of the porch light. Mud stains on its lower flanks, layers of dust settled at the edges of the windshield outside the overlapping arcs of the wipers. When they got out and walked to the porch steps he went to the door of his workroom and listened to them stamp their feet on the mat and come in downstairs, mingled voices, the ruffle of people entering a house, shaking off coats, making all the incidental noises of transition, the sigh of the full body, homeyness and deep relief, the way it seemed a danger and a lie.
He closed the door and stood in the dark room, moving his hand across the desktop to find his cigarettes.
Glad to be indoors after a long journey on a chill night, nowhere. Goulash soup and black bread. Glad to be reminded that kitchens are places for long talks, the late hour, the wood stove and musty wine. Brita had shared a thousand odd dialogues with strangers on planes, intense and shallow, whispery with Existenz. Totally fake really. She could not talk seriously in cars. The car was serial travel, a sprocketed motion that shot her attention span to
