Black House

Two metal desks sit at right angles to each other in the corner to our left, and from the one that faces us, Tom Lund, a fair-haired officer of roughly his partner’s age but without his appearance of having been struck gleaming from the mint five minutes before, regards the bag tweezed between two fingers of Bobby Dulac’s right hand.

“All right,” Lund says. “Okay. The latest installment.”

“You thought maybe the Thunder Five was paying us another social call? Here. I don’t want to read the damn thing.”

Not deigning to look at the newspaper, Bobby sends the new day’s issue of the La Riviere Herald sailing in a flat, fast arc across ten feet of wooden floor with an athletic snap of his wrist, spins rightward, takes a long stride, and positions himself in front of the wooden table a moment before Tom Lund fields his throw. Bobby glares at the two names and various details scrawled on the long chalkboard hanging on the wall behind the table. He is not pleased, Bobby Dulac; he looks as though he might burst out of his uniform through the sheer force of his anger.

Fat and happy in the KDCU studio, George Rathbun yells, “Caller, gimme a break, willya, and get your prescription fixed! Are we talking about the same game here? Caller—”

“Maybe Wendell got some sense and decided to lay off,” Tom Lund says.

“Wendell,” Bobby says. Because Lund can see only the sleek, dark back of his head, the little sneering thing he does with his lip wastes motion, but he does it anyway.

“Caller, let me ask you this one question, and in all sincerity, I want you to be honest with me. Did you actually see last night’s game?”

“I didn’t know Wendell was a big buddy of yours,” Bobby says. “I didn’t know you ever got as far south as La Riviere. Here I was thinking your idea of a big night out was a pitcher of beer and trying to break one hundred at the Arden Bowl-A-Drome, and now I find out you hang out with newspaper reporters in college towns. Probably get down and dirty with the Wisconsin Rat, too, that guy on KWLA. Do you pick up a lot of punk babes that way?”

The caller says he missed the first inning on account of he had to pick up his kid after a special counseling session at Mount Hebron, but he sure saw everything after that.

“Did I say Wendell Green was a friend of mine?” asks Tom Lund. Over Bobby’s left shoulder he can see the first of the names on the chalkboard. His gaze helplessly focuses on it. “It’s just, I met him after the Kinderling case, and the guy didn’t seem so bad. Actually, I kind of liked him. Actually, I wound up feeling sorry for him. He wanted to do an interview with Hollywood, and Hollywood turned him down flat.”

Well, naturally he saw the extra innings, the hapless caller says, that’s how he knows Pokey Reese was safe.

“And as for the Wisconsin Rat, I wouldn’t know him if I saw him, and I think that so-called music he plays sounds like the worst bunch of crap I ever heard in my life. How did that scrawny pasty-face creep get a radio show in the first place? On the college station? What does that tell you about our wonderful UW–La Riviere, Bobby? What does it say about our whole society? Oh, I forgot, you like that shit.”

“No, I like 311 and Korn, and you’re so out of it you can’t tell the difference between Jonathan Davis and Dee Dee Ramone, but forget about that, all right?” Slowly, Bobby Dulac turns around and smiles at his partner. “Stop stalling.” His smile is none too pleasant.

“I’m stalling?” Tom Lund widens his eyes in a parody of wounded innocence. “Gee, was it me who fired the paper across the room? No, I guess not.”

“If you never laid eyes on the Wisconsin Rat, how come you know what he looks like?”

“Same way I know he has funny-colored hair and a pierced nose. Same way I know he wears a beat-to-shit black leather jacket day in, day out, rain or shine.”

Bobby waited.

“By the way he sounds. People’s voices are full of information. A guy says, Looks like it’ll turn out to be a nice day, he tells you his whole life story. Want to know something else about Rat Boy? He hasn’t been to the dentist in six, seven years. His teeth look like shit.”

From within KDCU’s ugly cement-block structure next to the brewery on Peninsula Drive, via the radio Dale Gilbertson donated to the station house long before either Tom Lund or Bobby Dulac first put on their uniforms, comes good old dependable George Rathbun’s patented bellow of genial outrage, a passionate, inclusive uproar that for a hundred miles around causes breakfasting farmers to smile across their tables at their wives and passing truckers to laugh out loud:

“I swear, caller, and this goes for my last last caller, too, and every single one of you out there, I love you dearly, that is the honest truth, I love you like my momma loved her turnip patch, but sometimes you people DRIVE ME CRAZY! Oh, boy. Top of the eleventh inning, two outs! Six–seven, Reds! Men on second and third. Batter lines to short center field, Reese takes off from third, good throw to the plate, clean tag, clean tag. A BLIND MAN COULDA MADE THAT CALL!”

“Hey, I thought it was a good tag, and I only heard it on the radio,” says Tom Lund.

Both men are stalling, and they know it.

“In fact,” shouts the hands-down most popular Talk Voice of the Coulee Country, “let me go out on a limb here, boys and girls, let me make the following recommendation, okay? Let’s replace every umpire at Miller Park, hey, every umpire in the National League, with BLIND MEN! You know what, my friends? I guarantee a sixty to seventy percent improvement in the accuracy of their calls. GIVE THE JOB TO THOSE WHO CAN HANDLE IT—THE BLIND!”

Mirth suffuses Tom Lund’s bland face. That George Rathbun, man, he’s a hoot. Bobby says, “Come on, okay?”

Grinning, Lund pulls the folded newspaper out of its wrapper and flattens it on his desk. His face hardens; without altering its shape, his grin turns stony. “Oh, no. Oh, hell.”

“What?”

Lund utters a shapeless groan and shakes his head.

“Jesus. I don’t even want to know.” Bobby rams his hands into his pockets, then pulls himself perfectly upright, jerks his right hand free, and clamps it over his eyes. “I’m a blind guy, all right? Make me an umpire—I don’t wanna be a cop anymore.”

Lund says nothing.

“It’s a headline? Like a banner headline? How bad is it?” Bobby pulls his hand away from his eyes and holds it suspended in midair.

“Well,” Lund tells him, “it looks like Wendell didn’t get some sense, after all, and he sure as hell didn’t decide to lay off. I can’t believe I said I liked the dipshit.”

“Wake up,” Bobby says. “Nobody ever told you law enforcement officers and journalists are on opposite sides of the fence?”

Tom Lund’s ample torso tilts over his desk. A thick lateral crease like a scar divides his forehead, and his stolid cheeks burn crimson. He aims a finger at Bobby Dulac. “This is one thing that really gets me about you, Bobby. How long have you been here? Five, six months? Dale hired me four years ago, and when him and Hollywood put the cuffs on Mr. Thornberg Kinderling, which was the biggest case in this county for maybe thirty years, I can’t claim any credit, but at least I pulled my weight. I helped put some of the pieces together.”

“One of the pieces,” Bobby says.

“I reminded Dale about the girl bartender at the Taproom, and Dale told Hollywood, and Hollywood talked to the girl, and that was a big, big piece. It helped get him. So don’t you talk to me that way.”

Bobby Dulac assumes a look of completely hypothetical contrition. “Sorry, Tom. I guess I’m kind of wound up and beat to shit at the same time.” What he thinks is: So you got a couple years on me and you once gave Dale this crappy little bit of information, so what, I’m a better cop than you’ll ever be. How heroic were you last night, anyhow?

At 11:15 the previous night, Armand “Beezer” St. Pierre and his fellow travelers in the Thunder Five had roared up from Nailhouse Row to surge into the police station and demand of its three occupants, each of whom had worked an eighteen-hour shift, exact details of the progress they were making on the issue that most concerned them all. What the hell was going on here? What about the third one, huh, what about Irma Freneau? Had they found her yet? Did these clowns have anything, or were they still just blowing smoke? You need help? Beezer roared, Then deputize us, we’ll give you all the goddamn help you need and then some. A giant named Mouse had strolled smirking up to Bobby Dulac and kept on strolling, jumbo belly to six-pack belly, until Bobby was backed up against a filing cabinet, whereupon the giant Mouse had mysteriously inquired, in a cloud of beer and marijuana, whether Bobby had ever dipped into the works of a gentleman named Jacques Derrida. When Bobby replied that he had never heard of the gentleman, Mouse said, “No shit, Sherlock,” and stepped aside to glare at the names on the chalkboard. Half an hour later, Beezer, Mouse, and their companions were sent away unsatisfied, undeputized, but pacified, and Dale Gilbertson said he had to go home and get some sleep, but Tom ought to remain, just in case. The regular night men had both found excuses not to come in. Bobby said he would stay, too, no problem, Chief, which is why we find these two men in the station so early in the morning.

“Give it to me,” says Bobby Dulac.

Lund picks up the paper, turns it around, and holds it out for Bobby to see: FISHERMAN STILL AT LARGE IN FRENCH LANDING AREA, reads the headline over an article that takes up three columns on the top left-hand side of the front page. The columns of type have been printed against a background of pale blue, and a black border separates them from the remainder of the page. Beneath the head, in smaller print, runs the line Identity of Psycho Killer Baffles Police. Underneath the subhead, a line in even smaller print attributes the article to Wendell Green, with the support of the editorial staff.

“The Fisherman,” Bobby says. “Right from the start, your friend has his thumb up his butt. The Fisherman, the Fisherman, the Fisherman. If I all of a sudden turned into a fifty-foot ape and started stomping on buildings, would you call me King Kong?” Lund lowers the newspaper and smiles. “Okay,” Bobby allows, “bad example. Say I held up a couple banks. Would you call me John Dillinger?”

“Well,” says Lund, smiling even more broadly, “they say Dillinger’s tool was so humongous, they put it in a jar in the Smithsonian. So . . .”

“Read me the first sentence,” Bobby says.

Tom Lund looks down and reads: “ ‘As the police in French Landing fail to discover any leads to the identity of the fiendish double murderer and sex criminal this reporter has dubbed “the Fisherman,” the grim specters of fear, despair, and suspicion run increasingly rampant through the streets of that little town, and from there out into the farms and villages throughout French County, darkening by their touch every portion of the Coulee Country.’ ”

“Just what we need,” Bobby says. “Jee-zus!” And in an instant has crossed the room and is leaning over Tom Lund’s shoulder, reading the Herald’s front page with his hand resting on the butt of his Glock, as if ready to drill a hole in the article right here and now.

“ ‘Our traditions of trust and good neighborliness, our habit of extending warmth and generosity to all [writes Wendell Green, editorializing like crazy], are eroding daily under the corrosive onslaught of these dread emotions. Fear, despair, and suspicion are poisonous to the soul of communities large and small, for they turn neighbor against neighbor and make a mockery of civility.

“ ‘Two children have been foully murdered and their remains partially consumed. Now a third child has disappeared. Eight-year-old Amy St. Pierre and seven-year-old Johnny Irkenham fell victim to the passions of a monster in human form. Neither will know the happiness of adolescence or the satisfactions of adulthood. Their grieving parents will never know the grandchildren they would have cherished. The parents of Amy and Johnny’s playmates shelter their children within the safety of their own homes, as do parents whose children never knew the deceased. As a result, summer playgroups and other programs for young children have been canceled in virtually every township and municipality in French County.

“ ‘With the disappearance of ten-year-old Irma Freneau seven days after the death of Amy St. Pierre and only three after that of Johnny Irkenham, public patience has grown dangerously thin. As this correspondent has already reported, Merlin Graasheimer, fifty-two, an unemployed farm laborer of no fixed abode, was set upon and beaten by an unidentified group of men in a Grainger side street late Tuesday evening. Another such episode occurred in the early hours of Thursday morning, when Elvar Praetorious, thirty-six, a Swedish tourist traveling alone, was assaulted by three men, again unidentified, while asleep in La Riviere’s Leif Eriksson Park. Graasheimer and Praetorious required only routine medical attention, but future incidents of vigilantism will almost certainly end more seriously.’ ”

Tom Lund looks down at the next paragraph, which describes the Freneau girl’s abrupt disappearance from a Chase Street sidewalk, and pushes himself away from his desk.

Bobby Dulac reads silently for a time, then says, “You gotta hear this shit, Tom. This is how he winds up:

“ ‘When will the Fisherman strike again?

“ ‘For he will strike again, my friends, make no mistake.

“ ‘And when will French Landing’s chief of police, Dale Gilbertson, do his duty and rescue the citizens of this county from the obscene savagery of the Fisherman and the understandable violence produced by his own inaction?’ ”

Bobby Dulac stamps to the middle of the room. His color has heightened. He inhales, then exhales a magnificent quantity of oxygen. “How about the next time the Fisherman strikes,” Bobby says, “how about he goes right up Wendell Green’s flabby rear end?”

“I’m with you,” says Tom Lund. “Can you believe that shinola? ‘Understandable violence’? He’s telling people it’s okay to mess with anyone who looks suspicious!”

Bobby levels an index finger at Lund. “I personally am going to nail this guy. That is a promise. I’ll bring him down, alive or dead.” In case Lund may have missed the point, he repeats, “Personally.”

Wisely choosing not to speak the words that first come to his mind, Tom Lund nods his head. The finger is still pointing. He says, “If you want some help with that, maybe you should talk to Hollywood. Dale didn’t have no luck, but could be you’d do better.”

Bobby waves this notion away. “No need. Dale and me . . . and you, too, of course, we got it covered. But I personally am going to get this guy. That is a guarantee.” He pauses for a second. “Besides, Hollywood retired when he moved here, or did you forget?”

“Hollywood’s too young to retire,” Lund says. “Even in cop years, the guy is practically a baby. So you must be the next thing to a fetus.”

And on their cackle of shared laughter, we float away and out of the ready room and back into the sky, where we glide one block farther north, to Queen Street.

Moving a few blocks east we find, beneath us, a low, rambling structure branching out from a central hub that occupies, with its wide, rising breadth of lawn dotted here and there with tall oaks and maples, the whole of a block lined with bushy hedges in need of a good trim. Obviously an institution of some kind, the structure at first resembles a progressive elementary school in which the various wings represent classrooms without walls, the square central hub the dining room and administrative offices. When we drift downward, we hear George Rathbun’s genial bellow rising toward us from several windows. The big glass front door swings open, and a trim woman in cat’s-eye glasses comes out into the bright morning, holding a poster in one hand and a roll of tape in the other. She immediately turns around and, with quick, efficient gestures, fixes the poster to the door. Sunlight reflects from a smoky gemstone the size of a hazelnut on the third finger of her right hand.

While she takes a moment to admire her work, we can peer over her crisp shoulder and see that the poster announces, in a cheerful burst of hand-drawn balloons, that TODAY IS STRAWBERRY FEST!!!; when the woman walks back inside, we take in the presence, in the portion of the entry visible just beneath the giddy poster, of two or three folded wheelchairs. Beyond the wheelchairs, the woman, whose chestnut hair has been pinned back into an architectural whorl, strides on her high-heeled pumps through a pleasant lobby with blond wooden chairs and matching tables strewn artfully with magazines, marches past a kind of unmanned guardpost or reception desk before a handsome fieldstone wall, and vanishes, with the trace of a skip, through a burnished door marked WILLIAM MAXTON, DIRECTOR.

What kind of school is this? Why is it open for business, why is it putting on festivals, in the middle of July?

We could call it a graduate school, for those who reside here have graduated from every stage of their existences but the last, which they live out, day after day, under the careless stewardship of Mr. William “Chipper” Maxton, Director. This is the Maxton Elder Care Facility, once—in a more innocent time, and before the cosmetic renovations done in the mid-eighties—known as the Maxton Nursing Home, which was owned and managed by its founder, Herbert Maxton, Chipper’s father. Herbert was a decent if wishy-washy man who, it is safe to say, would be appalled by some of the things the sole fruit of his loins gets up to. Chipper never wanted to take over “the family playpen,” as he calls it, with its freight of “gummers,” “zombies,” “bed wetters,” and “droolies,” and after getting an accounting degree at UW–La Riviere (with hard-earned minors in promiscuity, gambling, and beer drinking), our boy accepted a position with the Madison, Wisconsin, office of the Internal Revenue Service, largely for the purpose of learning how to steal from the government undetected. Five years with the IRS taught him much that was useful, but when his subsequent career as a freelancer failed to match his ambitions, he yielded to his father’s increasingly frail entreaties and threw in his lot with the undead and the droolies. With a certain grim relish, Chipper acknowledged that despite a woeful shortage of glamour, his father’s business would at least provide him with the opportunity to steal from the clients and the government alike.

Let us flow in through the big glass doors, cross the handsome lobby (noting, as we do so, the mingled odors of air freshener and ammonia that pervade even the public areas of all such institutions), pass through the door bearing Chipper’s name, and find out what that well-arranged young woman is doing here so early.

Beyond Chipper’s door lies a windowless cubicle equipped with a desk, a coatrack, and a small bookshelf crowded with computer printouts, pamphlets, and flyers. A door stands open beside the desk. Through the opening, we see a much larger office, paneled in the same burnished wood as the director’s door and containing leather chairs, a glass-topped coffee table, and an oatmeal-colored sofa. At its far end looms a vast desk untidily heaped with papers and so deeply polished it seems nearly to glow.

Our young woman, whose name is Rebecca Vilas, sits perched on the edge of this desk, her legs crossed in a particularly architectural fashion. One knee folds over the other, and the calves form two nicely molded, roughly parallel lines running down to the triangular tips of the black high-heeled pumps, one of which points to four o’clock and the other to six. Rebecca Vilas, we gather, has arranged herself to be seen, has struck a pose intended to be appreciated, though certainly not by us. Behind the cat’s-eye glasses, her eyes look skeptical and amused, but we cannot see what has aroused these emotions. We assume that she is Chipper’s secretary, and this assumption, too, expresses only half of the truth: as the ease and irony of her attitude imply, Ms. Vilas’s duties have long extended beyond the purely secretarial. (We might speculate about the source of that nice ring she is wearing; as long as our minds are in the gutter, we will be right on the money.)

We float through the open door, follow the direction of Rebecca’s increasingly impatient gaze, and find ourselves staring at the sturdy, khaki-clad rump of her kneeling employer, who has thrust his head and shoulders into a good-sized safe, in which we glimpse stacks of record books and a number of manila envelopes apparently stuffed with currency. A few bills flop out of these envelopes as Chipper pulls them from the safe.

“You did the sign, the poster thing?” he asks without turning around.

“Aye, aye,” says Rebecca Vilas. “And a splendid day it is we shall be havin’ for the great occasion, too, as is only roight and proper.” Her Irish accent is surprisingly good, if a bit generic. She has never been anywhere more exotic than Atlantic City, where Chipper used his frequent-flier miles to escort her for five enchanted days two years before. She learned the accent from old movies.

“I hate Strawberry Fest,” Chipper says, dredging the last of the envelopes from the safe. “The zombies’ wives and children mill around all afternoon, cranking them up so we have to sedate them into comas just to get some peace. And if you want to know the truth, I hate balloons.” He dumps the money onto the carpet and begins to sort the bills into stacks of various denominations.

“Only Oi was wonderin’, in me simple country manner,” says Rebecca, “why Oi should be requested to appear at the crack o’ dawn on the grand day.”

“Know what else I hate? The whole music thing. Singing zombies and that stupid deejay. Symphonic Stan with his big-band records, whoo boy, talk about thrills.”

“I assume,” Rebecca says, dropping the stage-Irish accent, “you want me to do something with that money before the action begins.”

“Time for another journey to Miller.” An account under a fictitious name in the State Provident Bank in Miller, forty miles away, receives regular deposits of cash skimmed from patients’ funds intended to pay for extra goods and services. Chipper turns around on his knees with his hands full of money and looks up at Rebecca. He sinks back down to his heels and lets his hands fall into his lap. “Boy, do you have great legs. Legs like that, you ought to be famous.”

“I thought you’d never notice,” Rebecca says.

Chipper Maxton is forty-two years old. He has good teeth, all his hair, a wide, sincere face, and narrow brown eyes that always look a little damp. He also has two kids, Trey, nine, and Ashley, seven and recently diagnosed with ADD, a matter Chipper figures is going to cost him maybe two thousand a year in pills alone. And of course he has a wife, his life’s partner, Marion, thirty-nine years of age, five foot five, and somewhere in the neighborhood of 190 pounds. In addition to these blessings, as of last night Chipper owes his bookie $13,000, the result of an unwise investment in the Brewers game George Rathbun is still bellowing about. He has noticed, oh, yes he has, Chipper has noticed Ms. Vilas’s splendidly cantilevered legs.

“Before you go over there,” he says, “I was thinking we could kind of stretch out on the sofa and fool around.”

“Ah,” Rebecca says. “Fool around how, exactly?”

“Gobble, gobble, gobble,” Chipper says, grinning like a satyr.

“You romantic devil, you,” says Rebecca, a remark that utterly escapes her employer. Chipper thinks he actually is being romantic.

She slides elegantly down from her perch, and Chipper pushes himself inelegantly upright and closes the safe door with his foot. Eyes shining damply, he takes a couple of thuggish, strutting strides across the carpet, wraps one arm around Rebecca Vilas’s slender waist and with the other slides the fat manila envelopes onto the desk. He is yanking at his belt even before he begins to pull Rebecca toward the sofa.

“So can I see him?” says clever Rebecca, who understands exactly how to turn her lover’s brains to porridge . . .

. . . and before Chipper obliges her, we do the sensible thing and float out into the lobby, which is still empty. A corridor to the left of the reception desk takes us to two large, blond, glass-inset doors marked DAISY and BLUEBELL, the names of the wings to which they give entrance. Far down the gray length of Bluebell, a man in baggy coveralls dribbles ash from his cigarette onto the tiles over which he is dragging, with exquisite slowness, a filthy mop. We move into Daisy.

The functional parts of Maxton’s are a great deal less attractive than the public areas. Numbered doors line both sides of the corridor. Hand-lettered cards in plastic holders beneath the numerals give the names of the residents. Four doors along, a desk at which a burly male attendant in an unclean white uniform sits dozing upright faces the entrances to the men’s and women’s bathrooms—at Maxton’s, only the most expensive rooms, those on the other side of the lobby, in Asphodel, provide anything but a sink. Dirty mop-swirls harden and dry all up and down the tiled floor, which stretches out before us to improbable length. Here, too, the walls and air seem the same shade of gray. If we look closely at the edges of the hallway, at the juncture of the walls and the ceiling, we see spiderwebs, old stains, accumulations of grime. Pine-Sol, ammonia, urine, and worse scent the atmosphere. As an elderly lady in Bluebell wing likes to say, when you live with a bunch of people who are old and incontinent, you never get far from the smell of caca.

The rooms themselves vary according to the conditions and capacities of their inhabitants. Since nearly everyone is asleep, we can glance into a few of these quarters. Here in D10, a single room two doors past the dozing aide, old Alice Weathers lies (snoring gently, dreaming of dancing in perfect partnership with Fred Astaire across a white marble floor) surrounded by so much of her former life that she must navigate past the chairs and end tables to maneuver from the door to her bed. Alice still possesses even more of her wits than she does her old furniture, and she cleans her room herself, immaculately. Next door in D12, two old farmers named Thorvaldson and Jesperson, who have not spoken to each other in years, sleep, separated by a thin curtain, in a bright clutter of family photographs and grandchildren’s drawings.

Farther down the hallway, D18 presents a spectacle completely opposite to the clean, crowded jumble of D10, just as its inhabitant, a man known as Charles Burnside, could be considered the polar opposite of Alice Weathers. In D18, there are no end tables, hutches, overstuffed chairs, gilded mirrors, lamps, woven rugs, or velvet curtains: this barren room contains only a metal bed, a plastic chair, and a chest of drawers. No photographs of children and grandchildren stand atop the chest, and no crayon drawings of blocky houses and stick figures decorate the walls. Mr. Burnside has no interest in housekeeping, and a thin layer of dust covers the floor, the windowsill, and the chest’s bare top. D18 is bereft of history, empty of personality; it seems as brutal and soulless as a prison cell. A powerful smell of excrement contaminates the air.

For all the entertainment offered by Chipper Maxton and all the charm of Alice Weathers, it is Charles Burnside, “Burny,” we have most come to see.

2

CHIPPER’S BACKGROUND we know. Alice arrived at Maxton’s from a big house on Gale Street, the old part of Gale Street, where she outlived two husbands, raised five sons, and taught piano to four generations of French Landing children, none of whom ever became professional pianists but who all remember her fondly and think of her with affection. Alice came to this place as most people do, in a car driven by one of her children and with a mixture of reluctance and surrender. She had become too old to live alone in the big house in the old section of Gale Street; she had two grown, married sons who were kind enough, but she could not tolerate adding to their cares. Alice Weathers had spent her entire life in French Landing, and she had no desire to live anywhere else; in a way, she had always known that she would end her days in Maxton’s, which though not at all luxurious was agreeable enough. On the day her son Martin had driven her over to inspect the place, she had realized that she knew at least half the people there.

Unlike Alice, Charles Burnside, the tall, skinny old man lying covered by a sheet before us in his metal bed, is not in full possession of his wits, nor is he dreaming of Fred Astaire. The veiny expanse of his bald, narrow head curves down to eyebrows like tangles of gray wire, beneath which, on either side of the fleshy hook of his nose, two narrow eyes shine at his north-facing window and the expanse of woods beyond Maxton’s. Alone of all the residents of Daisy wing, Burny is not asleep. His eyes gleam, and his lips are wormed into a bizarre smile—but these details mean nothing, for Charles Burnside’s mind may be as empty as his room. Burny has suffered from Alzheimer’s disease for many years, and what looks like an aggressive form of pleasure could be no more than physical satisfaction of a very basic kind. If we had failed to guess that he was the origin of the stench in this room, the stains rising into the sheet that covers him make it clear. He has just evacuated, massively, into his bed, and the very least we can say about his response to the situation is that he does not mind a bit; no sir, shame is not a part of this picture.

But if—unlike delightful Alice—Burny no longer has a firm grasp on all of his marbles, neither is he a typical Alzheimer’s patient. He might spend a day or two mumbling into his oatmeal like the rest of Chipper’s zombies, then revitalize himself and join the living again. When not undead, he usually manages to get down the hall to the bathroom as necessary, and he spends hours either sneaking off on his own or patrolling the grounds, being unpleasant—in fact, offensive—to all and sundry. Restored from zombiehood, he is sly, secretive, rude, caustic, stubborn, foul-tongued, mean-spirited, and resentful, in other words—in the world according to Chipper—a blood brother to the other old men who reside at Maxton’s. Some of the nurses, aides, and attendants doubt that Burny really does have Alzheimer’s. They think he is faking it, opting out, lying low, deliberately making them work harder while he rests up and gathers his strength for yet another episode of unpleasantness. We can hardly blame them for their suspicion. If Burny has not been misdiagnosed, he is probably the only advanced Alzheimer’s patient in the world to experience prolonged spells of remission.

In 1996, his seventy-eighth year, the man known as Charles Burnside arrived at Maxton’s in an ambulance from La Riviere General Hospital, not in a vehicle driven by a helpful relative. He had appeared in the emergency room one morning, carrying two heavy suitcases filled with dirty clothing and loudly demanding medical attention. His demands were not coherent, but they were clear. He claimed to have walked a considerable distance to reach the hospital, and he wanted the hospital to take care of him. The distance varied from telling to telling—ten miles, fifteen miles, twenty-five. He either had or had not spent some nights sleeping in fields or by the side of the road. His general condition and the way he smelled suggested that he had been wandering the countryside and sleeping rough for perhaps a week. If he had once had a wallet, he had lost it on his journey. La Riviere General cleaned him up, fed him, gave him a bed, and tried to extract a history. Most of his statements trailed off into disjointed babble, but in the absence of any documents, at least these facts seemed reliable: Burnside had been a carpenter, framer, and plasterer in the area for many years, working for himself and general contractors. An aunt who lived in the town of Blair had given him a room.

He had walked the eighteen miles from Blair to La Riviere, then? No, he had started his walk somewhere else, he could not remember where, but it was ten miles away, no, twenty-five miles away, some town, and the people in that town were no-good jackass asswipes. What was the name of his aunt? Althea Burnside. What were her address and telephone number? No idea, couldn’t remember. Did his aunt have a job of any kind? Yes, she was a full-time jackass asswipe. But she had permitted him to live in her house? Who? Permitted what? Charles Burnside needed no one’s permission, he did what he damn well wanted. Had his aunt ordered him out of her house? Who are you talking about, you jackass asshole?

The admitting M.D. entered an initial diagnosis of Alzheimer’s disease, pending the results of various tests, and the social worker got on the telephone and requested the address and telephone number of an Althea Burnside currently residing in Blair. The telephone company reported no listing for a person of that name in Blair, nor was she listed in Ettrick, Cochrane, Fountain, Sparta, Onalaska, Arden, La Riviere, or any other of the towns and cities within a fifty-mile radius. Widening her net, the social worker consulted the Records Office and the departments of Social Security, Motor Vehicle License, and Taxation for information about Althea and Charles Burnside. Of the two Altheas that popped up out of the system, one owned a diner in Butternut, far to the north of the state, and the other was a black woman who worked in a Milwaukee day-care center. Neither had any connection to the man in La Riviere General. The Charles Burnsides located by the records search were not the social worker’s Charles Burnside. Althea seemed not to exist. Charles, it seemed, was one of those elusive people who go through life without ever paying taxes, registering to vote, applying for a Social Security card, opening a bank account, joining the armed forces, getting a driver’s license, or spending a couple of seasons at the state farm.

Another round of telephone calls resulted in the elusive Charles Burnside’s classification as a ward of the county and his admission to the Maxton Elder Care Facility until accommodation could be found at the state hospital in Whitehall. The ambulance conveyed Burnside to Maxton’s at the expense of the generous public, and grumpy Chipper slammed him into Daisy wing. Six weeks later, a bed opened up in a ward at the state hospital. Chipper received the telephone call a few minutes after the day’s mail brought him a check, drawn by an Althea Burnside on a bank in De Pere, for Charles Burnside’s maintenance at his facility. Althea Burnside’s address was a De Pere post office box. When the state hospital called, Chipper announced that in the spirit of civic duty he would be happy to continue Mr. Burnside’s status at Maxton Elder Care. The old fellow had just become his favorite patient. Without putting Chipper through any of the usual shenanigans, Burny had doubled his contribution to the income stream.

For the next six years, the old man slid relentlessly into the darkness of Alzheimer’s. If he was faking, he gave a brilliant performance. Down he went, through the descending way stations of incontinence, incoherence, frequent outbursts of anger, loss of memory, loss of the ability to feed himself, loss of personality. He dwindled into infancy, then into vacuity, and spent his days strapped into a wheelchair. Chipper mourned the inevitable loss of a uniquely cooperative patient. Then, in the summer of the year before these events, the amazing resuscitation occurred. Animation returned to Burny’s slack face, and he began to utter vehement nonsense syllables. Abbalah! Gorg! Munshun! Gorg! He wanted to feed himself, he wanted to exercise his legs, to stagger around and reacquaint himself with his surroundings. Within a week, he was using English words to insist on wearing his own clothes and going to the bathroom by himself. He put on weight, gained strength, once again became a nuisance. Now, often in the same day, he passes back and forth between late-stage Alzheimer’s lifelessness and a guarded, gleaming surliness so healthy in a man of eighty-five it might be called robust. Burny is like a man who went to Lourdes and experienced a cure but left before it was complete. For Chipper, a miracle is a miracle. As long as the old creep stays alive, who cares if he is wandering the grounds or drooping against the restraining strap in his wheelchair?

We move closer. We try to ignore the stench. We want to see what we can glean from the face of this curious fellow. It was never a pretty face, and now the skin is gray and the cheeks are sunken potholes. Prominent blue veins wind over the gray scalp, spotted as a plover’s egg. The rubbery-looking nose hooks slightly to the right, which adds to the impression of slyness and concealment. The wormy lips curl in a disquieting smile—the smile of an arsonist contemplating a burning building—that may after all be merely a grimace.

Here is a true American loner, an internal vagrant, a creature of shabby rooms and cheap diners, of aimless journeys resentfully taken, a collector of wounds and injuries lovingly fingered and refingered. Here is a spy with no cause higher than himself. Burny’s real name is Carl Bierstone, and under this name he conducted, in Chicago, from his mid-twenties until the age of forty-six, a secret rampage, an unofficial war, during which he committed wretched deeds for the sake of the pleasures they afforded him. Carl Bierstone is Burny’s great secret, for he cannot allow anyone to know that this former incarnation, this earlier self, still lives inside his skin. Carl Bierstone’s awful pleasures, his foul toys, are also Burny’s, and he must keep them hidden in the darkness, where only he can find them.

So is that the answer to Chipper’s miracle? That Carl Bierstone found a way to creep out through a seam in Burny’s zombiedom and assume control of the foundering ship? The human soul contains an infinity of rooms, after all, some of them vast, some no bigger than a broom closet, some locked, some few imbued with a radiant light. We bow closer to the veiny scalp, the wandering nose, the wire-brush eyebrows; we lean deeper into the stink to examine those interesting eyes. They are like black neon; they glitter like moonlight on a sodden riverbank. All in all, they look unsettlingly gleeful, but not particularly human. Not much help here.