Tabloid City Page 2

  She often wonders if Sam sees the same ghosts. He was there too, twenty pounds lighter with brown hair and a Camel bobbing in his lips. He no longer smokes but seems more drained than ever. Sometimes he must look around the city room the way I do, she thinks, and remember other rooms in other buildings, the reporters cursing and laughing, making sexist remarks, and racist jokes, and wisecracks about everybody on the planet, including each other, and, of course, the opposition. Jokes about the Times. And the Daily News. And the Journal-American. I hear them still, she thinks. I see them before they needed glasses. There are the photographers, Louis Liotta, Arty Pomerantz, Barney Stein, Tony Calvacca. Each of them rowdy and sardonic and very goddamned good at what they did. They are rushing to show us copies of photographs that will never make the paper. Still wet from the developer. Look at this one! Bodies in Bath Beach with heads torn open by gangster bullets. A woman with wide dead eyes and a severed breast. A shot of blonde busty Jayne Mansfield’s black hairy crotch, pantyless and winking, as she sits smiling on a steamer trunk on the deck of an ocean liner.

  Helen sees them. All gone now, their names mere whispers in the emptiness. Unknown to the young. Foot soldiers in the tabloid wars. Too many are dead now. But even the living are MIA. Living in gated communities in Florida or Arizona. Now the photographers use digital cameras and send their images from computers out of the trunks of cars or from press rooms at political rallies or the press pens above the fields at the ballparks. They never make it to the city room. There are credit lines in the paper now that she can’t match to a face. Now they cover baseball games in new stadiums, but I’m not going. She thinks of the game they cover as scumball. It’s not the game her father loved. Not the game she loved too. The game of Furillo and Robinson, Snider and Reese and Mantle. And Willie Mays. Jesus Christ. Willie Mays… Now it’s scumball, full of steroids and treachery, played by millionaires for millionaires. Played without joy. And we sit here in an emptied world of reporters who almost never come in, using gadgets for stories, sometimes sitting at home, watching events on television, and Googling to cover their asses.

  When I was young, there was a comic strip about a guy named Barney Google. He had a horse named… what the hell was the name? Firehouse? Fast Track? Sam would know. He might be the only guy in Manhattan who would know. I’d better Google Barney Google. Now.

  She needs to pull on her coat and go down to the street for a Marlboro Light. But first she reads again the newest edition of “Vics and Dicks.” The daily catalog of felonious New Yorkers. Two grafs each. Not a name or a sentence likely to attain immortality.

  In Queens, some fat balding unemployed thirty-eight-year-old lout knocked down a seventy-nine-year-old woman at 17-39 Seagirt Boulevard. Grabbed her purse. Shoved her to the sidewalk. Ran. His face immortalized on an overhead video camera. A real tough guy. Meanwhile, out in Bushwick, two employed hookers got in a knife fight on Jefferson Street. One of them was working the wrong turf and a pimp told her to leave and she wouldn’t and the pimp’s hooker started shouting and the knives came out and they both ended up in the emergency ward at Queens General. Slash wounds on arms, hands, and faces. And, of course, under arrest. The pimp home sleeping, or smoking dope.

  Up on Fifth Avenue, near 30th Street, a forty-seven-year-old master criminal named Rodriguez, recently laid off at Pathmark, tried to pry open a bodega door with a broom handle. A pedestrian said, “Hey, man,” and the guy walked away. Ten minutes later, he was back, with the broom. He didn’t notice the cop now stationed across the street. He started prying again, and, of course, was locked up. Another unemployed dumbbell tiptoed into a dark room, full of exhausted people, in Lenox Hill Hospital. He started lifting a pocketbook from a sedated patient. Another woman shouted. He knocked her down, breaking her elbow, and ran into the waiting embrace of a cop.

  On and on. “Vics and Dicks.” Now it should be “Tales of the Recession.”

  Christ, I need a cigarette.

  Now.

  Helen Loomis pulls on the down coat, fastens the hood, gives Matt Logan a wave, taps her wristwatch, and heads for the elevator.

  12:15 a.m. Malik Shahid, aka Malik Watson. Eighth Street and Sixth Avenue. Outside Barnes & Noble.

  Lean, his full black beard buried in the collar of a black cloth jacket, he is gazing at the books in the store window without seeing them. Trying to stay dry. He is looking for someone, anyone he can score off. Too early. Too much traffic on the streets. Too many whores and whoremasters. High heels in the rain. He even tried begging on Christopher Street. Holding an empty coffee cup from a diner named Manatus. Saying the word “change.” Humiliated. They went by, the whores and whoremasters. All my age. One old lady dropped a quarter in the cup.

  A fucking quarter.

  I need a hundred dollars, at least.

  Gotta get it tonight. Gotta get it for Glorious Burress. My woman. Gotta get it for the child. To pay a doctor tomorrow. Me, with no I.D. Me, with no credit cards. Me, who doesn’t fucking exist in this world. Gotta get money, even if I gotta take it.

  The rain comes. On some narrow street of shops and stoops in areaways, he sees a guy coming toward him. Skinny motherfucker. Sees him trip on a curb, then right himself.

  Malik’s heart quickens. The guy comes closer. His jacket soaked. Malik thinks: Head lock, shove him into that doorway. Punch hard. Head. Or neck. Then balls. Reach into the pockets. Grab the bills. One more in the head. Then walk away easy. Into the subway. To Brooklyn. To the Lots. To Glorious.

  But then: a police car appears. Slow. Cop sure to be looking. Malik walks as if without care or interest, hands in his pockets. The drunk goes the other way, humming some tune, fumbling for keys in his coat. The police car eases by.

  Shit.

  Malik thinks: I know you are testing me, O holy one.

  But I need you. Not for me. For my woman. For the baby. For a clean warm room in a hospital. Oh please. Now.

  And wanders on.

  12:20 a.m. Sam Briscoe. New York World, his office.

  Briscoe is shadowy in the muted light of the cowled green desk lamp. On the blotter, his secretary, Janet Barnett, has left her usual two pale blue folders. One is marked “Bitching.” Bulging with printouts of e-mail messages, handwritten letters from pissed-off readers. Why is A-Rod still a Yankee? Fire his ass. Why does my grandson, now nine, have to save AIG when he grows up? Why no editorial about Obama wasting our money on the faith-based initiative? Take the BMWs away from the preachers! The other is marked “Important.” He stares at that one, blowing out air like a relief pitcher with men on base.

  He glances at the television set, on a shelf beside the bookcase. The remote lies before him on the desk, but he does not use it to turn on the set. He rises out of the expensive chair he bought with his own money to support his back. He stretches, sees the typewriter on the shelf to the right of the television set. The old Hermes 3000. The one he carried to Vietnam and Belfast and Beirut. The one he still keeps oiled. The one for which he buys new ribbons every four months from a hidden typewriter store on West 27th Street. A holy relic.

  He lifts the “Important” folder.

  On top, a single typed page tells him: Mr. Elwood says you should come to his office at 8:30 ayem Friday. He says it’s urgent.

  He pictures young Richard Elwood. The F.P. He sees the narrow face that came from his father, the sharp chin, sees him in expensively sloppy clothes, the four-hundred-dollar black jeans, and carefully cut casual black hair. And sees his mother’s wide-set peering eyes. Briscoe starts talking to himself without speaking a word. I know what the kid is going to tell me. But why at eight-thirty in the morning? Do I work until seven-thirty and then take a cab to 50th Street? Or do I go home now? Christ, I’ve lived too long. I’m being summoned to the palace by a twenty-eight-year-old. The dauphin. A kid who spent two summers here as an intern, couldn’t get a fact straight. And earned his place at the top of the masthead because his mother died.

  In the silence of his offic
e, Briscoe glances at the framed photograph of Elizabeth Elwood, high on the top shelf, beside the framed account from the 1955 Times of the end of the Third Avenue El. There’s a photograph there of Briscoe with his daughter, Nicole, standing by the Eiffel Tower when the girl was sixteen. Nicole is now forty and lives three blocks from that tower with her hedge-fund-managing French husband. Briscoe sighs. He looks again at Elizabeth Elwood. How old was she in that photo? Sixty? Thin, with high cheekbones, elegantly defiant white hair, those wide-spaced intelligent eyes, an ironical flick in the smile. Taken around the time her husband died. Harry Elwood. A genius at investment banking, when no bankers aspired to run gambling joints.

  In 1981, Elizabeth persuaded Harry to buy the title to the long-vanished New York World. It was Joseph Pulitzer’s great New York paper, a smart, hard-charging broadsheet that lived beyond his death in 1911 until the Great Depression killed it. Elizabeth Elwood wanted to revive the World as an upscale tabloid. To be published in the afternoon, out of competition with the Post and the News, who owned the morning. To be published right here, in the building where the World-Telegram once lived. She would run her World the way Dorothy Schiff ran the New York Post, and Katharine Graham the Washington Post. Her husband agreed, probably with a sigh heavier than the ones that Briscoe has been sighing tonight. Then she tracked Briscoe to Paris, where he was happily writing a column at the Paris Herald, and called him from New York.

  –I’m starting a paper, she said.

  –What?

  –I want you to be the editor, and teach me the business.

  He barely knew her. Glancing encounters, at parties, or public events.

  –You’re out of your mind, you know, he said.

  Two days later she was in Paris, on a day of spring rain, sitting across from him at a table inside the Deux Magots. Three hours later, at the end of lunch, he agreed to edit the new version of the old World.

  Long ago. In a different century. A different world.

  A world of paper itself, and ink, and trucks, and bundles dropped at newsstands.

  A world that is now shrinking. Under assault from digitalized artillery. The future? Yeah. The goddamned future. Probably starting at breakfast with the F.P. Somewhere, his mother weeps.

  Briscoe looks at the second message. A printed e-mail. From Cynthia Harding. Sam: I know you can’t be at table tonight, but call me tomorrow and I’ll give you a fill. Much love, C.

  Cynthia. He hadn’t seen her in the past six days, but how long now had he been with her? Images jumble in his mind. Going with her to Brooke Astor’s place the first time and to Jamaica another time and how he fell in love with her, and she with him, or so she said. When he wanted to marry her, she said no, not now. When she wanted to marry Sam, he said no, not now. She joked once that they lived apart together. Sometimes other women for me. Other men for her. And then together. As she said, forever. After tonight’s party, she’ll sleep late. Tonight’s a small dinner to raise funds for the public library. Once again, she was saluting the memory of Brooke Astor, whose name, Cynthia always said, must survive her long, blurred good-bye and the ugly legal mess that followed. She never mentions hard times when asking for money from rich friends and acquaintances. Nor how it will be difficult to keep the library going at full strength. She doesn’t have to. For a second, Briscoe is in her bed in Paris, in the suite at the Plaza Athénée, hears her low voice. Remembers that she took the photograph of Nicole that stands now on the shelf in this room. He folds the printed e-mail and slides it into his back pocket. As a reminder. I’ll call her tomorrow, he thinks. After meeting with the F.P. He gazes out at the city room. Young Fonseca is standing beside Matt Logan. With any luck, the kid has the wood.

  12:21 a.m. Cynthia Harding. Patchin Place, Greenwich Village.

  She is wearing a long black simple Chanel gown, leaning back in a Billy Baldwin slipper chair in the small room beside the dining room. Thinking: Why don’t you all just leave? Please. I’ve been awake since six in the morning. Please, just go… The light is muted, seeping from the electrified flanges of old gas lamps. The sliding doors are closed. She can hear the clatter of dishes beyond the doors, as the remains of dinner are carted away, down the hidden back stairway that leads to the basement kitchen. Two large French windows open to the dark garden. The glass panes now streaky with rain. A gaunt bony man in his fifties is talking. Two older, heavier men are together on a small couch. They remind Cynthia of those two theater producers from Dublin, the ones they called Sodom and Begorrah. The room itself reminds her of Dublin. What did Sam once call it? A tabloid version of Merrion Square.

  Sodom is smoking a cigar, flicking ashes into a ceramic dish. They are a couple, from an immense white-shoe law firm.

  –Of course, I always liked Cummings’s poetry, after I learned to read it out loud, says the gaunt man. Cynthia thinks of him as a bone-colored Giacometti or an exclamation point under mild sedation. At once laconic and blasé. His name is Carson, retired after many years at an old-line publishing company, a big supporter of the library. He goes on about Cummings in a dry voice.

  –But I much preferred his paintings, he says. If he’d painted more, he’d be known today as one of America’s greatest painters ever.

  Sodom: I didn’t know he painted.

  Begorrah: Nor did I.

  –Oh, yes, says Carson. After the Great War, he went to Paris, painted up a storm.

  –I’ll be damned, says Sodom.

  –That’s a Cummings, Cynthia says, gesturing casually at a portrait between the windows.

  The painting shows a brooding young man, in a mildly cubist style, the colors glowing. Sodom stands up, wheezing and squinting, laying the cigar in the ashtray. All eyes turn to the painting, and Cynthia remembers buying it through a dealer in the year she took her first apartment in this building. Nineteen eighty-one. Before she bought the entire building and made it her last home. What was his name, that dealer? She remembers his ferrety face, his oily manner, but no name. My mind rusts. How in the name of God did I get to be sixty?

  –Just marvelous, Sodom says. In her head, Cynthia hears a song. “Too Marvelous for Words.” Sinatra singing it on a late-night jukebox. Or Sam, in the shower upstairs.

  –Yes, Carson says. He has been in this room at several earlier dinners for the library. Before the collapse of everything. Has seen the painting before. Has looked it up.

  –It was painted in nineteen twenty-eight, he says.

  –Marvelous.

  The word bounces musically in Cynthia’s mind.

  –Did he paint it here in Patchin Place? Sodom says.

  –Paris, I think, Carson says. Cynthia nods in a vacant affirmative way. Yes. Paris.

  –What would he have become if he’d stayed there? Sodom says.

  –A corpse, Begorrah says. Hitler would have had him gassed, for using Semitic punctuation!

  The partners chuckle in a dark way.

  Goddamn you, Sam. Why couldn’t you be here tonight? For an hour, anyway. On the way to the paper. And answers herself: Maybe he heard that the boss was coming, formerly known as Little Dickie Elwood. They couldn’t call him Little Richard. His mother was a wonderful person. So was his father, Harry. And young Dickie, Dickie at nine or ten, was a nice boy. Not now. Bosshood is a curse. And Sam’s boss was the youngest person at table tonight. Called to dinner at the invitation of someone at the library. A check sent this afternoon by messenger, so he could avoid touching it in front of strangers. A lesson from his parents. No show, please. Polite and modest in his matching paisley cummerbund and tie. Until asked about newspapers. Then he fell into bosschat, all about the digital age and why newspapers were doomed, not now but eventually, and a century of their content could be carried in a single laptop. Or better, on various electronic readers. Content provided by Google or somebody. He owns the New York World, for God’s sake. Which is made of words on paper. Better that Sam wasn’t here. He might have thrown him out the window.

  Dickie departed
early, pleading a morning meeting. So did that hedge-fund swindler, Myles Compton, or was it Compton Myles? How did he get on the list? Sitting in laconic reserve, with performed smiles, poking at the food. He delivered an early check too.

  –Well, Carson says, rising from his seat like a long unfolding Swiss army knife. He must be six-four. I’d better go, he says. If my heart bursts here, the ambulance could never get through the gate.

  Laughter.

  –Thank you, Mr. Carson, Cynthia says, rising to shake his bony hand. Hoping the others would follow. The top of her head is level with his shoulder.

  –Can I give you fellows a ride? Carson says.

  –Well, yes, as a matter of fact, yes, says Sodom, eagerly tamping out his cigar. He and his mate stand up now, glancing around for the door. All the others rise too. Cynthia Harding is relieved. The smoke rising from the murdered cigar makes Cynthia think of other good-nights, other cigars. Her second husband smoked cigars at breakfast. That’s why he became the last husband. Sam was a cigarette guy then.

  She leads the way down the stairs to the basement. From behind the door to the kitchen, Latin music plays softly from a radio. Dishes clatter. The coats of the guests are on a rack near the door that leads up a few steps to the street. Overcoats are donned, hats clamped on heads. Each wears gloves. Cynthia thinks they look like musicians from some aging society band of the early 1960s. A nostalgia act even then. The door opens and they all leave. The cold damp night air enters, rain seeping from the dark sky, promising worse, maybe even snow. They exchange hugs and good-nights. The door closes behind them.