Fame is a fickle food
Upon a shifting plate
Whose table once a
Guest but not
The second time is set.Whose crumbs the crows inspect
And with ironic caw
Flap past it to the Farmer's Corn –-
Men eat of it and die. Emily Dickinson: Fame is a fickle food (1659)
The sound caught me off-guard, a squishing sort of slurp followed by the sharp tang of salt—hot and viscous—as his blood splattered across my face. I did not know his name; we were just getting acquainted. Now, I never would. The bullet had flown into his face with such thunderous power nothing of the features remained, except for an eye that now dangled at the end of its optic nerve surrounded by a frame of splattered flesh. A moment before, he’d just asked me of my reason for being there—was it business or pleasure?—as we sat cross-legged on the cool terrazzo floor of the airport—waiting—thankful for the slow circulating fans that had stirred the fetid air around their rattan blades, without concern or notice of what had just happened. What had just happened? I knew I had no clue, other than to twitch my gaze from one side of the lobby to the other, as I had crouched behind a stone column that had become what I thought would be a safe haven. How foolish; weapons with that kind of power could eat through cheap concrete just as easily as through bone. The chunk of collapsing lead lay spent within the bloody detritus that now convulsed its life into an ever-widening sticky thickness of blood—its purpose complete. What purpose—I asked myself—could the person have had who, somewhere, pulled the trigger of that leaden emissary, igniting the bright spark of death?
I had never really understood the use of weapons. Don’t get me wrong. I know a Beretta from a Walther PPK; I’ve read my Ian Fleming. My basement held its strong box where my own Browning 380 auto lay surrounded by two boxes of fresh ammunition. Yet that security really seemed too primitive and permanent for modern times—no conversations had a hope of continuing after its interrupting cough. Then again, it was the cough that had turned my attention here—the gurgling splutter of ragged breath, drawn through bloodied foam where a mouth had been. I was after all, a correspondent for the International Herald Tribune. How could democracy and capitalism hold their own if the premiere publication of the expatriate community avoided its duty to deliver timely insight about this place? I was the conduit of reason through which good men found out what they might do to stem the tide of tyranny. What was needed to counter this barbarism was what I did—capture life at its most raw and put it, un-bandaged and screaming, into print. At least that is what I had thought as I muttered into my tape recorder behind a concrete column that afternoon in
I lie here now wondering what I thought I knew, what value I delivered to an unbidden audience. I heard they gave me the Pulitzer for the words they found on the tape recorder; my editor was always a real stand-up guy. I know that people seem only interested in learning about “life gone wrong”; no one wants to have someone play back a day from a Thomas Kincaid landscape. We need to have someone help us through the horror, telling us its story, giving us fresh meaning to the carnage. We must be somehow distracted from that larger work—seeking the meaning of our own lives.
I wish someone would tell me what that means. Come back and see me, won’t you? I’d rather not have you here when mealtime comes, when I have to let the nurses feed me with that pureed crap they call a liquid diet. I’ll be so glad when this is over; it is going to be over soon, isn’t it?
Written on American Airlines flight 2442 returning from business with Sun Microsystems and time with my brother Bob in
