donât care.â
We all get close to the plot and Brandi kneels to touch the engraving. âHappy birthday, Mr. Arbus,â she says. âI hear you were quite a man.â
A deep, deep breath from my father. âYou both have about ten relatives on this plot, not including my mother. She wanted to be in Jersey with her sisters. My aunt Gertrude, my fatherâs sister, is somewhere out there, toward those sycamores, along that fence there, ya see where I mean?â
âWhatâs that sound?â Debra says. âFireworks?â
I point the camera at my grandfatherâs plot. The engraving, the yellowed grass, the small stones left on top.
Click
.
âMicklin and my father got first-run movies for years. Tell me if Iâve told you this story already. I ran the projector with Chaplin and Errol Flynn films and everything Lionel Barrymore did in those days.â
âLionel Barrymore?â Brandi asks.
âThe contact wouldnât run dry until the early forties and my father and Uncle Joe started getting films from another source. Iâd be the one who went and picked the canisters up at a trucking yard in Jersey City.â
A family of five walks by us. The man and the boy wear yarmulkes. â
Shabbat shalom
,â the man says to my father, who ignores him.
â
Shabbat shalom
,â Debra responds.
âTuschsky was very kind to me, never once treated me like a kid. He was a big drinker and he liked to gamble all day but that son-of-a-bitch was never afraid to put his arm around me and even used to kiss me . . . on my forehead. Something my father would never ever do.â
My dad kneels on the grass before his fatherâs plot. âHappy ninety-first birthday, Papa.â
Brandi steps closer to him and waves Debra and me toward her. Itâs awkward for me. Staged sentimentality. I donât really move but then my sisterâs hand is out and I take it and we all end up behind my dad.
âFamily is the only thing that matters. These two people right here are my children. Your beautiful grandchildren,â he tells the stone. âYou met David a while back but heâs changed a lot. Heâs a man now. Look at him. I know heâs gonna make me so proud out there . . . with his old man. And
this
, this person over here is my girl. I donât get to see her as much as I used to, as much I need to. My God, sheâs growing up so fast, Papa.â
Debra bends to hug him, and I wish Iâd done that too.
My father is silent for a minute and stands, his cheeks lined with tears. âOkay,â he says, âI love ya, and I just wanted to say hello and happy birthday. So, good-bye for now. Weâre gonna go do something fun. Right?â
âRight!â says Brandi.
We walk back down the path toward the car and I notice that Debra and Brandi arenât next to us. When I look back at them their faces are so close, their noses practicallytouching. I lift my camera and decide to call this one
The Hasid and the Stripper. Click
. Top five this week:
5. Smashed TV
4. Styrofoam Wig Head
3. Old Man with Hand in Garbage Can
2. Burnt Orange Sun Setting between Skyscrapers
1. The Hasid and the Stripper
âDavid,â my father says.
âLooks like Deb and Brandi are friends,â I say.
âYeah, yeah,â he says. âShe can be a nightmare, that one. You wouldnât believe what she was laying on me all night.â
âWhat do you mean?â
âGo ask her. Itâs what we were fighting about. Or go ask Ira. Heâll tell you.â
âWhy canât you tell me?â
âThey want to upgrade, like everyone else, just go and turn the place into a goddamn peep show. Big plans, big ideas, put the film peeps in, the live peeps in, just turn it all into a big fuckinâ gyno exam. I tell them over and over, nothing brings the scum in faster than the peeps, but they donât care, they see dollar signs in
Marguerite Henry, Bonnie Shields