Elisabeth Lanser-Rose

SHARK WEEK

by Elisabeth Lanser-Rose

Jude gave me a hug and ran his eyes up and down my body, the primordial scan. “Lisa, your photos don’t do you justice.”

“I only put up the bad ones.”

“Smart!” He whisked imaginary sweat off his brow and then opened the hatch of his Land Rover. “You wouldn’t believe how many women post photos from ten years ago. Or thirty pounds ago.”

Men were shallow, but that no longer made me angry. I watched him rifle through roller blades, bug repellant, and a rattling stack of vertical blinds and brackets, all of it tangled with mesh grocery bags—he was active and prepared, he did home improvement projects, he didn’t fuss over tidiness, and at the grocery, he didn’t choose plastic. His hiking clothes had seen a few tumbles in the woods and wash, so he wasn’t just posing as an outdoorsman. He was trim and wiry, shorter than I’d expected, his curly black hair longer, his chin weaker.

“Let’s take the north trail,” he said. “Then we can hike around the west side of the pond.”

I knew better than to go into the woods with a strange man. My only protection was my border collie, Casey, all forty fighting pounds of her. She could bark and raise an alarm, but if a dog barks in the Hillsborough Wilderness Preserve and no one is around to hear her, what good is she?

He shouldered a sleek backpack zigzagged with bungee cords. “I know a spot where we can spread out our blanket.”

I let the word “blanket” hang in the air. We blinked at each other.

He had a cramped smile that didn’t crinkle his eyes. It made him look sad. “It’s a picnic blanket,” he said. “No funny stuff. I promise.”

“Okay.” I bounced on the toes of my old Timberlands that were a size too big. I might have been clumsy galumphing in those boots, but I loved that I was outside at seven o’clock in the morning about to explore the Florida forest with a professional wilderness guide. As long as he wasn’t a serial killer, I might have a nice time. I might even walk out of the woods with my true love. “Can I carry something?”

“Just bring your dog,” he said.

“She’ll bring herself.” I leaned into the backseat of my Mazda, freed my border collie from her seatbelt, unclipped her leash and wondered what self-destructive curiosity compelled me to date. At best, it amused my mind and boosted my ego. At worst, it risked my life. But anything more substantial, like test-driving a mate for two or ten years, just wasted time, and I was running out of that. A widow friend of mine had been married for over fifty years. “I miss my husband every day,” she said. “But if I had to do it over again, I’d just have lovers.” That sounded good, but I’d taken time off from American mating games to study them from a distance. As far as I could tell, nothing worked. No one was safe.

I stepped away from the car to show that my dog was well trained. Casey had the wide world at her nose, but she sat with her forelegs stiff, her eyes fixed on my face. I said, “At ease.” She shot out of the car and ricocheted around the lawn, searching for a stick.

The three of us headed into the woods. The sun rose in a white sky. The mockingbirds had ended their twilight arias. Ground doves materialized on the path just in time to escape Casey by bursting into the air. Catbirds, chipping sparrows, and pileated woodpeckers busied our ears. Three buzzards and a wood stork sailed overhead, silent, soaring, and gorgeous. I had the giddy thought—give me the outdoors, and I’ll give you my heart.

“You sure love birds,” Jude said.

“No, I don’t.” I tossed Casey’s stick ahead of us on the path. Was there no chemistry with this man? Was he unattractive? Or had extended celibacy dried me up?

“We’ve been walking for two minutes, and you’ve identified seven.”

“I have a kind of Tourette’s. I see a bird, I say its name.”

He laughed and regarded me sidelong. “I have the same problem with plants.” He identified a tar flower.

I smiled. I had a thing for botanists.

He had told me on the phone that he worked on contract for the Environmental Protection Agency and as a guide for rich folks seeking wilderness adventure; I did want an active, outdoorsy, accomplished man. Maybe physical attraction would grow. Maybe it didn’t matter. It shouldn’t matter—we weren’t animals.

I turned on my flirtation engines—curls bounced, smiles flashed, voice played con brio, hands danced in the air. “Why does everybody assume I’m a bird-lover? I love all animals. Birds just get themselves seen more often. You watch—if we happen upon a Gila monster or a hammerhead bat, I’ll say their names too.”

“Fair enough.”

I felt witty and pretty and fun. “Female boat-tailed grackle! I love those! More handsome than the males.” I bounced on my toes and threw Casey’s stick. If I charmed him, maybe I’d be charmed. “Bug!”

“Bug?” His eyes twinkled.

“Okay. I don’t love all animals enough to learn their names.” I was absolutely fetching.

The misnamed Hillsborough Wilderness Preserve provided footpaths and lavish picnic pavilions. Where was the wilderness? I hadn’t so much gone into the woods with a stranger as into a kind of arboreal mall. A fat man hauled a red cooler and trailed a squeaky cloud of pink birthday balloons. Men fired up grills, and women marched their children to and from bathrooms designed to spare all future generations of nature lovers from having to straddle a long drop.

“Don’t you worry about our future when there are airport-style bathrooms in the middle of the woods?” I said. “Digging a cat-hole is an important life skill. Maybe there’s an app for that?”

“This isn’t the middle of the woods, believe me.” He took a few silent strides. “I’ll take you there.”

Every few dozen yards stood a sign of treated plywood and glass, a display case that protected from the elements posters on commonplace native plants and animals: palmetto, armadillo, gopher tortoise. It made the wilderness preserve feel preserved, pickled and bottled in formaldehyde. We read posters about alien species: kudzu, cane toad, air potato. People “adopted” tracts of land and pulled invasive plants by hand to protect the native species.

Maybe Jude and I could connect intellectually. “These posters make me feel guilty. Shouldn’t we be pulling kudzu?”

“We should.”

“But isn’t the wilderness the original free market? Doesn’t that make kudzu the big winner?”

“Who’s going to weed out the humans?”

“Exactly! Aren’t we western Europeans ourselves just a wee bit invasive? Look at our footpaths, our bathrooms, look at our acres of asphalt! Kudzu’s got nothing on us.”

He said, “My grandparents were Ukrainian.”

The art of dating is the search for the one native prince in a nation of cane toads. I said, “My mother told a census-taker we’re Sasquatch. He thought that was so interesting. He’d never heard of that tribe.”

The paths were wide enough for us to walk abreast, but I kept falling behind because I played with my western European dog. Border collies come from Scotland. On hikes Casey yo-yoed out front, chasing and retrieving a stick. She’d place it on the path a few yards in front of me, back up a pace and then crouch, holding her breath and watching my feet, my face, and my hands as I approached the stick. I’d bend, sometimes with exaggerated slowness to ramp up the suspense. We’d lock eyes. I’d pick up the stick and toss it ahead.

Once, Jude bent down, picked up the stick, and tossed it behind. That’s what men always did. That and the fake throw. Casey never fell for either trick. She lifted her face and studied him, disgusted, incredulous.

He laughed. “I’m not playing right, am I?”

She blasted past with a grunt, annoyed. He was too stupid to fix his mistake.

“Okay, okay, Casey, I’m catching on.” He liked me, and he liked my dog.

I tried envisioning our future. I’d become a private wilderness guide, like him. He and I would get hired to show people Wild Florida. We’d end up with our own series on Animal Planet, and Casey would be the mascot. She set the stick on Jude’s side of the path and looked him in the eye.

Already he was picking up my mannerisms. He jumped in delight, the way I do. “It’s as if she understood me!”

“It’s as if she’s training you.” Maybe it was better that there be no chemistry between us. Chemistry would just intoxicate and confuse. Instead, we’d bond over nature, and the passion would follow. We weren’t shallow people. I had enough substance of character to like this man as much as he seemed to like me. We marched deeper into the preserve and passed fewer pavilions. The path narrowed, the vegetation thickened, and the museum signs grew portentous: Beware of alligators. Beware of poison sumac.

I decided to take a risk. “We should have our own wilderness show on Animal Planet. Each episode’ll culminate in one unexpectedly dangerous moment. Picture this: My trusting nature and infectious enthusiasm for wildlife get me too close to a deadly needle-shooting cactus or a rabid manatee. Then you save me.”

“I can handle that.” He puffed his chest, walked a few manly strides, and added, “Thank you.”

“For what?”

“For painting that incredibly sexist scenario. It’s hard to tell how you’re doing on a first date. Women call the shots.”

“If women have all the power, why do they need mace?”

“Men have to pretend it doesn’t matter which way it’s going to go, but sometimes it really matters.”

“Like today?” I’d overdone it. I dialed down my flirtation to “idle.”

“Today matters. Yes. And we men have to pretend we don’t want to be cast in chauvinist roles like the one you just described, but the truth is we do. Anyway, I like it.”

We passed a sign: Rattlesnakes are common in the Hillsborough Wilderness Preserve. Do not molest.

“I told you I was married once.” Jude explained that he’d graduated from MIT at age nineteen and turned down an offer from NASA. Instead, he eloped with his sweetheart, Iris. She had contracted a mysterious, fatal illness, so they had no time to waste. Iris died within the year. After her funeral, he hiked alone into the Appalachian Mountains. “I was a widower at twenty. And I was done with life.”

He turned off the main path, leading us away from the shouts of children. Casey had blown ahead and missed the turn. She grabbed her stick and caught up, clipping Jude on the side of his leg as she passed, almost toppling him.

“Sorry,” I said. “You learn to walk cautiously around border collies. Especially on stairs.”

He recovered his balance. “It was late spring,” he said. He slowed to walk beside me, stopping whenever I stopped for Casey’s stick, but he spoke as if to someone floating backwards on the path ahead of us.

In the branches overhead, woodpeckers chattered like something Jurassic. A flight of ibises flashed white above the canopy, but I could see the Appalachian Mountains he described. I’d lived in Pennsylvania for twenty-one years and spent hours in those forests on foot, horseback, and mountain bike. I didn’t see palm fronds, Spanish moss, bromeliads, and mistletoe, but hemlocks, cool shadows, stony paths, and wet tree trunks fallen across brooks.

“At the top of a rise, the path opened on a field of grass as high as my hips,” he said. “It was so . . . bright. I could see forever. With Iris gone, I just didn’t want to live anymore. I waded into the middle of the field, took off my pack, and lay down, knowing I could die there if I wanted to, and no one would find me. Not for a long while.”

We walked without speaking. He’s telling me he’s sensitive and romantic. He’s telling me he knows grief, as if that proved he would never cause me grief. Our boots chuffed and thumped, red-winged blackbirds chirred,and Casey’s paws scuffled. A nine-banded armadillo smashed out of the underbrush and marched its scaly self across our path, looking for all the world like something not of it, something that had scrabbled out of a meteorite. Casey sized it up and dismissed it, not because she had daily armadillo doings, but because she instantly understood that this animal was of no use to her.

As we broached the open expanse of the pond, I thought I ought to reel Casey in. Alligators sometimes kill dogs. I pulled the leash from my belt loop and put my thumb on the clasp, but I didn’t call her. I didn’t want to interrupt Jude.

“My whole life, all that hurry to make it through school faster than anybody else, to be smarter, to be more driven,” he said. “I thought it was all meaningless if someone like Iris could die.” He scooped up Casey’s stick and threw it. “I just lay there, watching the tips of the grass toss back and forth against the blue sky. The grasshoppers were buzzing. I fell asleep.”

We reached the pond, Jude walked along the bank, and I followed. The grass had been mown, and the cattails and reeds had been cleared on one side. I scanned the surface of the pond for gator eyes. Casey dropped the stick in my path. I tossed it.

“When I woke up,” Jude said. “I was surrounded by deer. They were crowded around, all looking down at me.”

I imagined his vantage: blades of grass towering like green skyscrapers around my face and the faces of deer peering down. I could see their tender, whiskered mouths.

“Just like that, I wanted to live.” Jude turned around, gripping the straps of his backpack. He walked bouncing backwards on the path ahead of me. “After they decided I wasn’t a threat, they went on grazing. They stayed with me in that field for—it felt like hours. Ever since then, I’ve been living for moments like that. As many as possible.”

“That is truly charming.” We’d fill our Animal Planet series with charming animal encounters—we’d cure bats of white-nose syndrome and set them free, we’d romp with panther cubs, we’d parasail with pelicans.

He stopped underneath a live oak so massive that its branches had to brace against the ground to steady themselves. One root bent like a giant’s knee, and he stepped onto it and lowered his pack. Standing above me, he turned to survey the site. In one direction, the lawn spread out green; in the other, the wide pond glittered. I wanted to want him. My eyes scanned his long fingers, the cords of muscle in his forearms, the way the placket of buttons on the front of his shirt dropped straight down behind his belt buckle.

He gazed through me. “The whole world seemed to fan out from under my back. I could feel the earth carrying the deer and the mountain as it turned. Have you ever felt that?”

“Sometimes. Lying on the beach beside the Atlantic Ocean. Walking with Casey.” I reminded myself not to let down my guard, so I welcomed Casey when she dropped her stick between us. I checked for other hikers, but we were alone. A woman couldn’t be too cautious; I considered asking to eat at the picnic pavilion. Shoulders lower than rump, one forepaw raised, Casey looked from me to Jude and back, waiting—no, inviting—no, commanding us to toss the stick for her.

He bestowed upon her a paternal smile. I waited for him to say something more, but he just stood there, comfortable in the silence, as if he felt safe having trusted me with his story.

Casey yapped at me to toss the stick, and I did. The moment the stick left my hand, I saw the cottonmouth.

Casey whirled as she always did, and galloped as she always did, looking forward as she ran and glancing backward to track the flight of the stick. My body levitated. The stick hit the ground on the far side of the snake and cartwheeled to a stop. I’m a thirty-minute run from the car. Her four white paws struck the ground, again, and again, each in turn. The rhythm of her stride contained a beat when all four paws were in the air. I’m a forty-five-minute drive from the nearest veterinarian, and I am in my car screaming. In one beat, all paws airborne, Casey sailed over the cottonmouth.

Thicker than my arm, muscular and blunt, the snake lay curled in a loop like an empty speech balloon. Casey skidded to a stop on the stick, clattered with it, picked it up, and found my eyes with her own, as she always did.

I floated, frozen and unbreathing. I have no way to tell you, “Run away, don’t come to me” so you’ll live to come to me.

She paused, puzzled to see me turned into a floating stone. The cottonmouth lay between us and did not move. Casey’s tail swished side-to-side as she picked her way over it and came to me.

I hit the ground, grabbed her collar, and, even though we were a safe distance away, I hauled her another ten feet backwards. Casey wrestled with me, trying to put the stick in my hand. I managed to clip the leash to her collar.

“Something’s wrong with it,” I said. Casey struggled in my arms. I let loose a small sob of relief. “It’s dead.”

“No.” Jude stood upon the root of the old oak and frowned across the garden in the direction of our Biblical enemy. Crouched on the ground with Casey in my arms, I tried to imagine him as my quintessentially capable man, master of all things civilized and wild.

“Are you going to investigate?”

“Heck, no!”

I shortened Casey’s lead and, with herpetological purpose, strode toward the cottonmouth. I stopped well out of reach, but close enough to see the subtle banding in its scales. It didn’t move. I grabbed a pinecone and tossed, ready to leap backward and haul Casey with me. The pinecone bounced off its back.

“Don’t go any closer,” Jude called.

I stepped closer.

The cottonmouth turned its head toward me. Its tongue flickered. Jude called to me again, but I stayed put. I’d birthed a baby girl and coddled her safely through her teens, raised and trained four dogs and a horse, and guided thousands of students through their semesters. I’d traveled in foreign nations alone, hiked mountains and braved the Atlantic, Pacific, and Indian Oceans and the Red, the Alboran, and the Tyrrhenian Seas. I’d survived four decades without Jude shouting at me from a tree root; I could damn well throw a pinecone at a cottonmouth without getting my dog or myself killed.

“It’s alive,” I reported from the scene. There was a blackened hole in its tail, as if someone had stabbed it with a pencil. “It’s got a bad a puncture wound.”

“Come back. Let’s have our picnic.”

The cottonmouth turned away. Holding Casey close, I took a long, respectful step backward. I watched it drift toward the woods as if pulled on an invisible rope, fat and heavy and coal-black, the grass behind flattened by its heft. Maybe, since the snake was hurt, it had been too afraid to attack Casey. It disappeared in the understory. I walked over to Jude. He had opened his backpack.

“Cottonmouths have a bad rap,” he said, as if I’d been the frightened one. “They don’t want any trouble. We’re okay here.” He put his hand on my shoulder.

I ducked to ruffle Casey’s fur and kiss her nose. I managed to stifle another sob. Somehow, the blanket had appeared on the ground, and I was sitting on it crosslegged, Casey in my lap. My body was knotted up; the whole world was a menace. Under the blank sun, the pond lay still, flat, and dusty with pollen, as if there were no one to take care of it. How long had my daughter, my dog, and I lived with no one to watch over us? At night, by day, at home, in parking lots, on city streets, I kept constant vigilance—are we aware of our surroundings? Are the doors and windows locked? Who would ring the bell at this hour? Is there enough charge on the cell to call 9-1-1? A little blue heron walked the bank, stabbing frogs. A flock of ibises pierced the earth with long, curved bills. I knew that, hidden under the murky water, wide tail, and broad thighs, sunken in the mud on the bottom, front claws and coffin jaws suspended as if in amber, an alligator waited.

All life is a danger to all life. I had a sip of wine; I had Casey safe. The fear that pinched my shoulders loosened, but I wished other hikers would come around. “Weren’t you going to tell me something?”

“Was I? I don’t know.” On his knees like a monk at prayer, Jude presented two small metal bowls and a thermos of onion soup. “Well, here’s something: I was born with two sets of adult teeth.”

“Oh?”

He laid out roasted Portobello mushrooms stuffed with savory mashed potatoes and cheese, fresh crepes with Brie and asparagus tips, and Kalamata olives, grapes, and a baguette. I praised each offering, and Jude was pleased. He lifted a fork to his lips. My gaze followed. The mouth that opened did not contain the customary central incisors, lateral incisors, canines, and so on. It held two rows of uniformly narrow, conical, pointed teeth. Teeth like long, polished pine nuts. Alien teeth.

The mouth swallowed, licked itself clean, and opened wide to display the teeth. The rows of narrow teeth created a mouth within a mouth. “The second set evolved,” the mouth explained, “to replace teeth lost in adulthood.”

“Ah, so we should all have them!” I willed the topic to move on. It would be rude to show any alarm, and I’d hate myself if I let some insignificant genetic aberration invade the landscape of a wholesome relationship. I valued depth of character, none of this superficial business about how many pounds or years or teeth a person had.

Jude thanked me by grinning wide for the first time. “Walking with you and Casey reminds me of the time I went hiking with two politicians and a goat.”

“I remind you of two politicians?”

“No, Casey reminds me of the goat.” He told me how the goat named Melvin stood on his hind legs and offered his hoof for you to shake. “He sure was pretty, black and sleek. When the trail opened up at Gem Lake, he ran ahead and leapt in the air. Happiest sight I ever saw. There was some snow powder on the ground. Remember how when the wind blows the snow, the sunshine makes it sparkle?”

I remembered. That was the life I wanted, hikes in the Rockies with politicians and pretty goats and a grateful man who made it all happen, a man who relished this life as much as I did, the same way I did. Yet all I could think was the last time I saw a mouth like that, Sigourney Weaver shot it with a grappling gun.

Jude produced two ramekins of crème brûlée, a stoppered vial of whiskey, and a lighter. He served dessert aflame. Pleased with his confection, he cracked the caramelized crust in his ramekin and spooned custard into the mouth. Casey dozed beside me, and he scratched her head. He let her lick the ramekins clean. Her tongue and lips, pink and black, slid against her glistening teeth, long and white and stiff as daggers. Earthling teeth. A light wind rippled the surface of the pond. It was one of those opposite days in Florida, the ones that got colder as the sun got higher. I shifted on the blanket, which turned my gaze to the woods where the cottonmouth hid itself, curled around its wound. A shiver blew through me—leftover adrenaline, I told myself, from having seen Casey step over a cottonmouth, the biological equivalent of a live grenade with the pin pulled. I rested my hand on her back. It rode up and down as she panted. Her tongue pulsed obscenely between her ragged teeth.

“We should go to Tampa Theatre,” he said. “There’s a new release Wednesday.”

“Yeah?” I wanted a man who loved Tampa Theatre. I listened while he shared irreproachable things about his work with the EPA, charming things about his wilderness tours, and a bonus detail: He’d made a fortune inventing an inhaler that imparted life-saving cardiac medication directly into the bloodstream through the lungs. I refused to think about teeth. Then, when a fish plunked through the surface of the pond, I sensed the monstrous alligator shadow below. I pointed in the opposite direction. “If we go that way, we can cut back to the car without walking along the pond, right?”

“Sure. We can do that.” He was disappointed that I’d thought about leaving. Plus, I’d suggested a much shorter route.

“Not right now,” I added. “I mean, when we leave.” But it was done. I’d heralded the end of our first date.

He returned his picnic gear to his fancy backpack. As we walked toward the parking lot, he said, “In a few weeks I’m going to the Rockies with Stuart from MIT, his wife, and his brother Greg and his family.” He assumed I’d come along. “Hey, maybe we can film an episode for Animal Planet.”

I smiled. We reached our cars.

“Have you ever been to Bern’s Steakhouse?” Jude asked as he tossed his backpack into the Land Rover. He turned, hanging his slight frame on the door with the ease of a man who thinks himself liked by the woman he likes. “Oh, that’s a stupid question to ask a vegetarian.”

“I used to live three blocks away from Bern’s.” I tried to picture sitting at a table with him. He’d have a fork in his hand. He would lift it. “I never ate there, not because I’m a vegetarian, but because it was right there. You know how you take some things for granted?” I felt strangely depressed and angry.

Casey dropped her stick, left it behind, and pointed her nose at the car door. I opened it. “Casey, hop up.” I buckled her into her seatbelt and stroked her glossy little head. Whenever I blinked, there was the snake. “My hero!” I whirled and hugged Jude. “You saved us from the cottonmouth!”

“I did no such thing! You’re the brave one.” He laughed, loud and happy. “But I’ll take it. Your imagination really works for me.”

“Sorry. I don’t feel well—it’s not the meal. That was great,” I stammered. I was injured, punctured, sick. I would drag myself into hiding. I ducked into my car, confused.

“I’ll give you a call. Drive safe.”

“You too.” I waved. He kept waving and watched me drive off, which made me furious. When I turned onto the highway to Tampa and gunned the engine, exhilarated and cruel, I thought, I will never kiss that mouth.

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Elisabeth Lanser-RoseElisabeth Lanser-Rose is the author of the memoir For the Love of a Dog (Random House, 2001). Her novel, Body Sharers (Rutgers University Press), was a finalist for the 1993 PEN/Hemingway Foundation Award for Best First Novel, the AWP Intro Award, and The Washington Prize for Fiction. Her work has appeared in Sugar Mule Literary Magazine: Women Writing Nature, Ascent Literary Journal, The North Carolina Literary Review, Art Mag, Kestrel: a Journal of Literature and Art, and Feminist Studies. elisabethlanserrose.com

Jonathan Fink

DISMANTLING THE PIANO

by Jonathan Fink

Almost a year to the day before my wedding, I find myself spacing tools (wire cutters, gloves, a drill, pliers, and a sledgehammer) across a blanket in the soon-to-be guest bedroom or sitting room of my house. An aging upright piano rests along one wall. The piano’s height is almost to my shoulder. A four-inch-high mirror spans the front of the piano so that when someone sits and plays, he sees his face above the sheet music. In the mirror, my image resembles the henchman from every B movie interrogation scene. Unshaven and wearing a white tank top, I am only missing a blowtorch or lead pipe in my right hand to complete the ensemble. The mirror is the first piece I remove. Two small screws, one at each end of the mirror, attach it to the piano’s frame. They twist out easily. The flower-shaped metal washers drop like rose petals into my cupped hand. When I lift the mirror free, it warbles like a crosscut saw, and my image ripples. I carry the mirror into the hallway and lean the mirror carefully against the wall. I am unsure how to proceed. What I know for certain is that the piano cannot stay.

When offered a free piano two years ago, I leapt at the chance. I had lived in my home for three years at the time, and it was still sparsely furnished. Whenever I talked on the phone, my voice echoed off the wood floors and plaster walls, and the person with whom I was speaking frequently asked me if I was standing in some kind of tunnel. In addition, I have always wanted to have a home filled with music. In high school, I scoured pawnshops every weekend to find unappreciated instruments: a 1970s Ludwig drum kit (my mother’s good china jumped with every thump of the bass drum), a 1950s National lap steel guitar, a harmonium. “All you have to do is pick it up,” the girl at the party had said. She wrote her address and number on my arm with a pen. She was moving and couldn’t take the piano with her. She just wanted it to go to a good home. The next day, a local piano store quoted me $200 as the fee to pick up and deliver the piano to my house. Too expensive, I thought. I called my friend Greg (he owed me for when I helped him assemble a grill), and, for $25, we rented a truck with a retracting loading ramp.

In virtually every endeavor there is a moment of no return. Sometimes this moment presents itself not so much as a choice, but as a feeling, like the feeling of your car first starting to spin when it hits a patch of ice. I hadn’t seen the piano before I agreed to take it, and when Greg and I arrived at the house the girl led us past her roommate smoking on the steps, through the kitchen and into a small bedroom. The piano filled the entire wall. Smoke from an incense stick rose from the top of the piano as the ash drooped onto the thin wooden holder. I had imagined a small spinet-sized upright. “It has wheels,” the girl said tentatively. Greg stood with his arms crossed as the girl recognized my hesitation. “It plays well,” she said, striking a chord. She turned the bench upside down on her bed then started clearing the knickknacks off the piano, lifting the incense slowly without breaking the ash.

I should have said, “No.” Instead, Greg and I positioned ourselves on each end of the piano, and once it moved the first two inches the girl sighed (or at least in memory I remember her sighing) as if the piano were already gone from her home. The piano probably weighed close to 700 pounds, but I wouldn’t have been able to estimate the piano’s weight accurately at the time. Only after we had moved the piano into my house did I look online to find information to approximate the piano’s weight. When you are moving something that large, the exactitude of weight shifts from specifics to generalities—700 pounds simply becomes “heavy”—and it is in that shift from the specific to the general where all trouble begins.

The move took us over an hour. We eased the piano through the house, past the smoking roommate (who had now moved to the couch and wrapped her arms around her shins like a child lifting her feet as her mother vacuums), onto the ramp of the truck (we had parked on the lawn at the girl’s insistence), and into the cargo area. I tied the piano to the wall of the truck and lowered the cargo door. When I eased the truck from the lawn to the street, the back wheels lowered over the curb and the whole truck rocked slightly, creaking like a Spanish galleon, as the strings chimed from the cargo area and the girl, growing smaller in the side-view mirror, waved from her front steps.

When Greg and I reached my house, I parked on the dirt of the neighbor’s empty lot, and we extended the ramp like a pirate’s plank from the truck to my front porch, bypassing the front porch steps. We hadn’t anticipated the problem of the small lip at the entryway of my house, but Greg and I eased one end of the piano at a time over the small ridge, both of us wheezing and panting, until the piano stood in my hallway. I turned on the light (the sun had set in the time it took us to move the piano), and the wood floors of the hallway gleamed. When Greg asked me where the piano was supposed to go, I pointed to the room down the hallway on the left.

I should have stopped. I should have considered the floors, the piano’s weight, even the very relationship between needs and wants. Instead, I pushed forward, bearing down against the piano as if it were a high-school-football blocking sled. I didn’t look down until Greg and I had maneuvered the piano into the side room. Grooves as wide as my thumb ran along the floor all the way back to the front door. The soft pine boards were over one hundred years old, cut from the same trees that the Spanish, French, and British harvested in the area from the 1600s onward. I bent down and studied the grooves closely. They weren’t cuts in the wood, but compressions. What nature couldn’t do over the course of a century, I had done in a few minutes. I could have rolled a marble down the grooves and it would have followed the path unerringly.

*

There are hundreds of free pianos listed on Craigslist. A representative entry, posted under the title, “Free Piano for Catapult Artisan,” contains these lines: “If you don’t care about technicalities like, say, notes being in tune or fully functioning black and white keys, I have your instrument,” “I bet it’ll make a wonderful thunk/plong/crash noise when it lands,” and “You must bring some strong folks to help you load it into your catapult. You must aim the catapult away from my apartment as I am hoping to get my deposit back.” A section from another entry, entitled “Free Upright Piano,” reads, “The first person to show up and take it gets it. This piano was listed once before, and you wouldn’t believe the number of homeless dying one-legged Mongolian orphans that just needed a piano to make life better. I heard some great sob stories (probably all true!) about why I should hold this piano for this person or that person. Well, I ended up holding it for the first caller, who never got it. Then I held it for someone else, and they never got it. Then everyone was gone, and I still had a piano. I don’t really want the piano. It came with the house when I bought it. I play the flute, which I can carry in one hand.”

Virtually every entry mentions that the pianos are extremely heavy, unwanted, and out of tune. The out-of-tune problem soon became an irritant. The girl who gave me the piano had been telling the truth when she said the piano played well in the sense that its large size projected sound well, yet the piano clearly didn’t “play well” in any harmonious way. I started noticing several dead keys; they thumped whenever I depressed them, sounding to me as if each song I played had a limp. I have never been an especially good player anyway. My most notable performance was playing Wagner’s “Bridal Chorus” (aka “Here Comes the Bride”) for a wedding that took place in a West Texas restaurant in which I worked during a summer home from college. When asking me to play at the wedding (his third), the manager of the restaurant (with heavy twang) said, “We’ll pay you $40 and buy you the instructions.” The wedding train was short—passing the bathrooms in the restaurant and extending to a side room where the Justice of the Peace waited, flanked by two cages of preening live doves. I missed notes frequently, stumbling through the first few measures as the bride grimaced and the restaurant patrons (the manager hadn’t closed the restaurant for the ceremony) looked up from their plates.

Un-tunable, monolithic, the piano in my home was played less and less until I began to regard it as more of a statue than an instrument. If not for my impending wedding, the piano most likely would have sat unused for years to come. “Way leads on to way,” Robert Frost says, and the union of marriage permeates all aspects of the bride and groom’s new life together. Choices must be made, and the vestiges of youth (not unlike the caged doves I helped the busboy liberate behind the restaurant after the wedding) must be released.

*

After I lay the mirror in the hallway, I return to the room and lie down on my back at the base of the piano. When my father was in Vietnam years ago he heard a story of a pilot transporting a helicopter piece-by-piece back to the states—disassembled in Vietnam, mailed across the ocean, then reassembled in America. I imagine a suburban scene of a family lounging by the pool when, next door, a helicopter lifts from the yard, overturning lawn chairs and tables, churning the grass and trees in a whirlwind as the mother screams and the children cheer. My plan is similar, except for the reassembly. Removing the piano piece by piece from my home accomplishes two goals. First, I do no more damage to the floors. Short of sanding, staining, and varnishing, there is no remedy for the grooves I made. I fruitlessly tried “ironing” out the grooves (as suggested on the Internet) by using a damp towel and iron. The only effect was to create a small steam room in the hallway. Second, like the POWs in the movie The Great Escape who distribute the dirt from their escape tunnels handful-by-handful down their pant legs, removing the piano piece by piece will allow me to dispose of it sequentially in the garbage can or recycling bin. In its entirety, the piano would never be picked up by the trash service. But in fragments, who’s the wiser?

Surprisingly, the first substantial piece of the piano—the “bottom door” that extends between the pedals and the base of the keyboard—removes easily. Two screws and a simple latch hold the board in place. With the piece removed, the bottom half of the piano’s harp is accessible. The top of the piano and the “top door” (the board between the keyboard and the top) remove easily as well. Like the hood and trunk of a car, these pieces are designed to integrate seamlessly into the piano when closed, but also to offer easy access to the inside of the piano for maintenance and tuning. With these pieces removed, the inner workings of the piano are clearly seen. That the piano is a percussion instrument seems counterintuitive. Its predecessor, the harpsichord, produces sound through an elaborate system of quills (contemporary ones are made of plastic) that pluck the strings when each key is depressed. Unlike a piano, the volume on a harpsichord cannot be varied depending on how hard the keys are struck. When a key on a piano is depressed, a felt hammer strikes the strings with a velocity proportionate to the musician’s force on the key. The piano’s full name, “fortepiano,” which means “loud-soft” in Italian, virtually crows about this design innovation.

The “loud-soft” nuance of the piano is the source of its expressiveness, yet what the fortepiano initially gained in expression it lost in volume. To produce volume, the size of the instrument grew, string tension increased, and (unlike the plucked strings of the harpsichord) each hammer in the fortepiano descended on up to three strings. The three-string structure is painfully relevant to anyone who currently owns an un-tunable piano. When a piano is tuned correctly, the three strings sound in unison. When the piano is out of tune, a single keystroke produces two or three approximately similar pitches. Like poorly matched voices in an amateur choir, the dissonance is unsettling. Science reinforces this discomfort. Two close but not identical pitches produce vibrations in a sound wave like the tremolo effect of an electric guitar. When the pitches are significantly out of tune, the sound wave fissures.

I run my fingers down the keyboard, and the hammers rise and fall in a small wave. With each piece I remove, the piano chimes in response. The next step is to remove the keys. Each key lifts out individually. The keys pile like kindling in the middle of the room. A metal bar helps hold the strings to the harp, and after I remove the bar with a drill, I notice a ribbon interwoven in the strings. I draw it out from the strings, and it ripples back and forth, reminding me of a trout darting in a creek. Strangely, there are a few small objects in the body of the piano: a playing card with the image of a cartoon samurai, a plastic green army man, and a few random nickels and pennies. There is no indication if these things were placed in the piano intentionally. They are small tokens of the lost ephemera of the world—playing cards, plastic army men, homes, cities, entire civilizations consumed by sand.

At this point in the process, all of the pieces I have removed from the piano were designed to be removed, which, for me, produces a false sense of accomplishment. Until now, I have been working with the designer of the piano. I must now work against the designer. With the drill, I extract the bolts that attach the apparatus with the hammers to the harp and place the apparatus off to the side. The shelf on which the keys rested also unbolts, and I remove it, revealing the full harp of the piano. Cast iron and painted gold, the harp reveals itself like something from a dream—otherworldly. “Cleveland, OH” is engraved in the plate, and I image the harp’s construction in the early twentieth century with iron ore transported across Lake Erie as factories billowed on the Cuyahoga River. The same river would catch fire decades later when sparks from a rail car ignited oil and chemical-soaked debris floating on the river. Cause the Cuyahoga River goes smokin’ through my dreams. Burn on, big river, burn on the musician Randy Newman composed on a piano that might or might not have been from Cleveland, Ohio.

The Internet suggests removing the strings with wire cutters, rather than attempting to unwind them. Cutting the strings feels like my first act of violence against the piano. I can’t decide whether to begin with the highest-pitch string or the lowest. The lowest-pitch strings are thickest and could writhe when cut. The highest-pitch strings seem to have the most tension and could break free at the snip, piercing me in an eye or testicle. I decide to begin with the low strings. The pieces on which the strings wind are uniform across the piano. The low strings resemble cattails where the thick wire rounds off and attaches with a thin wire to the piano. I place the wire cutters at the top of the lowest-pitch string, look the other way, cover my crotch with my free hand for good measure, and squeeze. When the wire snaps, the string shivers, then falls, striking the other strings before coming still. I snip the bottom of the wire and then place it in the middle of the room next to the pile of keys. With the removal of each string, I grow bolder, more methodical. Every snip produces an incrementally higher pitch until the harp stands barren, and the pile of wires equals the size of the pile of keys.

Initially, the soundlessness of the piano is disconcerting (I feel like the piano has abandoned its argument and withdrawn into itself), yet its silence soon emboldens me. No longer an instrument, the piano is merely a block of wood and steel. I extract as many bolts from the harp as possible, but several, either from rust or inaccessibility, refuse to budge. The harp, now only partially bound to the piano, flops back and forth against the soundboard like a giant, loose, cast-iron tooth. I wedge the sledgehammer between the harp and soundboard and attempt to break the harp free, but it resists. To better leverage the harp, I decide to turn the piano ninety degrees so that both the front and back of the piano are accessible.  The piano is significantly lighter, but it still retains approximately sixty to seventy percent of its original weight. The piano’s center of gravity shifted with the removal of the parts, and, perhaps in an act of retribution, the piano falls backwards towards me. I press my entire weight against the piano, and it pauses mid-fall, balancing against me and pressing into my forearm and shoulder so that a thin-lined bruise begins to form at the crease of my forearm along the piano’s edge. I cannot right the piano. I start to sweat, and I can feel my heart throbbing even in my ear canals. My legs tighten. In middle school, the coaches, for punishment, made us hold ourselves in seated positions against gym walls as our thighs burned and gravity bore down. Every kid eventually dropped. It was just a matter of time. I image my fiancée, like Dorothy, finding me under the piano, only my legs protruding out into the room.

My fiancée. Would she forgive me, crumpled beneath the piano? Would she ever believe that all of this is for her? Though she has asked for nothing, expected nothing, my fiancée is at the center of my every thought. Yet pianos cannot be bench pressed by thoughts alone. As best I can, I swipe my back foot around me on the floor to clear off anything that might be crushed. Like a frightened cat, I leap back (I imagine my arms and legs splayed out in all directions) and when the piano (thankfully missing me) hits the floor the whole house jumps as if it is a chambered heart and above us someone has applied electric shock. Amazingly, the floor seems to absorb the force without splintering (or even scratching), and the shockwave (as I imagine it) moves like a pulse through the beams, the earth, and dissipates through the neighborhood.

On its back, the piano is at my mercy. I rub my arm and circle the piano slowly. The bruise is already starting to purple, but the skin isn’t lacerated and no bones are broken. I lift the sledgehammer from the ground and place one foot on the piano. I have enough foresight not to wield the sledgehammer like an ax over my head down onto the piano.  Using the sledgehammer like a crowbar, I pry the harp, tearing out the large screws. Each removed screw increases the leverage I can apply to the harp until, like the loose tooth, the harp breaks free and I am able to separate it from the soundboard. The harp weighs more than I anticipated. By itself, it probably weighs close to a hundred pounds.

The final stage involves removing the soundboard and separating the wooden posts that form the piano’s structure (and give the piano much of its weight). The soundboard is thin, but because the piano is lying on its back, I cannot break through the soundboard without harming the floor. I stand like a lumberjack over the piano and knock the bottom of the piano loose by swinging the sledgehammer between my feet. When I knock the posts loose, each one creaks and groans. The soundboard eventually splinters, and I work my way through the posts, removing each one until the piano is finally divided into multiple piles around the room.

When I carry the pieces outside, I place the smaller ones in the garbage can and the larger ones by the curb. The trash pickup comes once a week, and I imagine waking up and finding everything gone, the only trace of the piano in the pieces’ outlines on the sidewalk from the falling buds of the crape myrtles. Spring is in full bloom, and my neighbor Amos, surveying the piles, waves to me from his driveway. He’s just come from work, his name embossed on a patch above his breast pocket. I’ve only ever seen him wear two outfits: his work clothes or the pin-stripped suit he wears to church. When I explain to him my project, he laughs and places his hand on my shoulder. His wife Jeanie has built a greenhouse in their yard as well as a garden. A pergola with purple bougainvillea hanging from the latticework creates a shaded walkway from their driveway to back door. I know that times have been tough for them lately. Jeanie explained to me recently that the business for which she works cut back not only on hourly wages, but also cleaning staff. Now she and the other workers must take turns scrubbing toilets and mopping bathroom floors.

Amos asks me if I care if he takes the piano’s harp for scrap metal. “You’ll be doing me a favor,” I say, and help him carry the harp across the street. When I tell him about my engagement, he smiles and nods, still focusing on the weight of the harp. “Let’s put it over here,” he says. We lean the harp against the side of his house, and I walk back towards the pergola. Light filters through the latticework. I pause under the arch. The bougainvillea flutters in the early-evening breeze, and the scent is like the dusting of powder my fiancée applies after a bath, her fair skin blooming from the water’s heat, my hand at the small of her back.

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fink photoJonathan Fink is an Associate Professor and the Director of Creative Writing at University of West Florida, where he also edits Panhandler. His poems have appeared in Poetry, New England Review, TriQuarterly, Slate, The Southern Review, Southwest Review, and Virginia Quarterly Review, among other publications. He has received the Editors’ Prize in Poetry from The Missouri Review and fellowships and scholarships from the National Endowment for the Arts, Emory University, the Florida Division of Cultural Affairs, the St. Botolph Club Foundation, and Breadloaf Writers’ Conference, among others. More of his work is available at jonathanfink.com