unmade. A pair of long trousers hung upside down by the cuffs from the top drawer of the dresser, and the one chair in the room was buried under layers of soiled clothes. On the floor beside the window was a fleece-lined bedroom slipper. There was fluff under the bed and a fine gritty dust on everything. The framed reproduction of Watts’ “Hope” which hung over the dresser was not of Lymie’s choosing. During the last five years Mr. Peters and Lymie had lived first in cheap hotels and then in a series of furnished kitchenette apartments, all of them gloomy like this one.
The grandfather’s clock in the hall and the oriental rug on the floor in Lymie’s room had survived from an earlier period. The rug was worn thin and curled at the corners, but when Lymie turned the light on, the childlike design of dancing animals—dogs, possibly, or deer, worked in with alternating abstract patterns—was immediately apparent, and the colors shone. The grandfather’s clock remained at twenty-five minutes past five no matter what time it was, but the alarm clock was running and it was seven-twenty.
Lymie went into the bathroom and moved the pieces of his father’s safety razor, the rusted blade, the shaving brush, and the tube of shaving soap, from the washstand to the window sill. He let the hot water run a moment, full force, to clean out the bowl, and then he washed his face and hands and ran a wet comb through his unruly hair. The arrangement was that if his father didn’t come home by seven-thirty, Lymie was to go to the Alcazar Restaurant on Sheridan Road and eat by himself.
At exactly seven-thirty-one he let himself out of the frontdoor of the apartment building. The other boys in the block had had their dinner and were outside. Milton Kirshman was bouncing a rubber ball against the side wall of the building. The others were in a cluster about Gene Halloway’s new bicycle. They nodded at Lymie, as he went by. The bicycle was painted red and silver and had an electric headlight on it which wouldn’t light. A slight wind blew the leaves westward along the sidewalk, and there were clouds coming up over the lake.
The Alcazar Restaurant was on Sheridan Road near Devon Avenue. It was long and narrow, with tables for two along the walls and tables for four down the middle. The decoration was
art moderne,
except for the series of murals depicting the four seasons, and the sick ferns in the front window. Lymie sat down at the second table from the cash register, and ordered his dinner. The history book, which he propped against the catsup and the glass sugar bowl, had been used by others before him. Blank pages front and back were filled in with maps, drawings, dates, comic cartoons, and organs of the body; also with names and messages no longer clear and never absolutely legible. On nearly every page there was some marginal notation, either in ink or in very hard pencil. And unless someone had upset a glass of water, the marks on page 177 were from tears.
While Lymie read about the Peace of Paris, signed on the thirtieth of May, 1814, between France and the Allied powers, his right hand managed again and again to bring food up to his mouth. Sometimes he chewed, sometimes he swallowed whole the food that he had no idea he was eating. The Congress of Vienna met, with some allowance for delays, early in November of the same year, and all the powers engaged in the war on either side sent plenipotentiaries. It was by far the most splendidand important assembly ever convoked to discuss and determine the affairs of Europe. The Emperor of Russia, the King of Prussia, the kings of Bavaria, Denmark, and Wurttemberg, all were present in person at the court of the Emperor Francis I in the Austrian capital. When Lymie put down his fork and began to count them off, one by one, on the fingers of his left hand, the waitress, whose name was Irma, thought he was through eating and tried to take his plate away. He stopped her. Prince
Lisa Mantchev, A.L. Purol