Collected Prose

of adrenalin. “We’ll try this one,” she said, “and if it doesn’t work we’ll give him another.” She waited a few minutes, went through the breath-rate calculations again, and then gave him the second shot. Still no effect. “That’s it,” she said. “We’ll have to take him to the hospital.” She made the necessary phone call, and with a furious energy that seemed to gather up everything into her small body, told A. and his wife how to follow her to the hospital, where to go, what to do, and then led them outside, where they left in separate cars. Her diagnosis was pneumonia with asthmatic complications—which, after X-rays and more sophisticated tests at the hospital, turned out to be the case.
    The boy was put in a special room in the children’s ward, pricked and poked by nurses, held down screaming as liquid medicine was poured into his throat, hooked up to an I.V. line, and placed in a crib that was then covered by a clear plastic tent—into which a mist of cold oxygen was pumped from a valve in the wall. The boy remained in this tent for three days and three nights. His parents were allowed to be with him continuously, and they took turns sitting beside the boy’s crib, head and arms under the tent, reading him books, telling him stories, playing games, while the other sat in a small reading room reserved for adults, watching the faces of the other parents whose children were in the hospital: none of these strangers daring to talk to each other, since they were all thinking of only one thing, and to speak of it would only have made it worse.
    It was exhausting for the boy’s parents, since the medicine dripping into his veins was composed essentially of adrenalin. This charged him with extra doses of energy—above and beyond the normal energy of a two-year old—and much of their time was spent in trying to calm him down, restraining him from breaking out of the tent. For A. this was of little consequence. The fact of the boy’s illness, the fact that had they not taken him to the doctor in time he might actually have died, (and the horror that washed over him when he thought: what if he and his wife had decided to spend the night in the city, entrusting the boy to his grandparents—who, in their old age, had ceased to be observant of details, and who, in fact, had not noticed the boy’s strange breathing at the beach and had scoffed at A. when he first mentioned it), the fact of all these things made the struggle to keep the boy calm as nothing to A. Merely to have contemplated the possibility of the boy’s death, to have had the thought of his death thrown in his face at the doctor’s office, was enough for him to treat the boy’s recovery as a sort of resurrection, a miracle dealt to him by the cards of chance.
    His wife, however, began to show the strain. At one point she walked out to A., who was in the adult sitting room, and said: “I give up, I can’t handle him anymore”—and there was such resentment in her voice against the boy, such an anger of exasperation, that something inside A. fell to pieces. Stupidly, cruelly, he wanted to punish his wife for such selfishness, and in that one instant all the newly won harmony that had been growing between them for the past month vanished: for the first time in all their years together, he had turned against her. He stormed out of the room and went to his son’s bedside.
    *

    The modern nothingness. Interlude on the force of parallel lives.
    In Paris that fall he attended a small dinner party given by a friend of his, J., a well-known French writer. There was another American among the guests, a scholar who specialized in modern French poetry, and she spoke to A. of a book she was in the process of editing: the selected writings of Mallarmé. Had A., she wondered, ever translated any Mallarmé?
    The fact was that he had. More than five years earlier, shortly after moving into the apartment on Riverside Drive, he had translated a number of the fragments Mallarmé wrote at the bedside of his dying son, Anatole, in 1879. These were short works of the greatest obscurity: notes for a poem that never came to be written. They were not even discovered until the late 1950s. In 1974, A. had done rough translation drafts of thirty or forty of them and then had put the manuscript away. When he returned from Paris to his room on Varick Street (December 1979, exactly one hundred years after Mallarmé had scribbled those death notes to his