Free Sunset Park by Paul Auster Page B

a new form, their hunch proved correct. Seventeen years later, his collection has grown from the standard kit (snare drums, tom-toms, side drum, bassdrum, suspended cymbals, hi-hat cymbals) to include more than two dozen drums of various shapes and sizes from around the world, among them a murumba, a batá, a darbuka, an okedo, a kalangu, a rommelpot, a bodhrán, a dhola, an ingungu, a koboro, a ntenga, and a tabor. Depending on the instrument, he plays with sticks, mallets, or hands. His percussion closet is stocked with standbys such as bells, gongs, bull-roarers, castanets, clappers, chimes, washboards, and kalimbas, but he has also performed with chains, spoons, pebbles, sandpaper, and rattles. The band he belongs to is called Mob Rule, and they average two or three gigs a month, mostly in small bars and clubs in Brooklyn and lower Manhattan. If they earned more money, he would gladly drop everything and spend the rest of his life touring the world with them, but they barely earn enough to cover the costs of their rehearsal space. He loves the harsh, dissonant, improvised sound they create—shit-kicking funk, as he sometimes calls it—and they are not without their loyal followers. But there aren’t enough of them, not nearly enough, and so he spends his mornings and afternoons in the Hospital for Broken Things, putting frames around movie posters and mending relics that were built when his grandparents were children.
    When Ellen Brice told him about the abandoned house in Sunset Park this past summer, he saw it as an opportunity to put his ideas to the test, to move beyond his invisible, solitary attacks on the system and participate in a communal action. It is the boldest step he has yet taken,and he has no trouble reconciling the illegality of what they are doing with their right to do it. These are desperate times for everyone, and a crumbling wooden house standing empty in a neighborhood as ragged as this one is nothing if not an open invitation to vandals and arsonists, an eyesore begging to be broken into and pillaged, a menace to the well-being of the community. By occupying that house, he and his friends are protecting the safety of the street, making life more livable for everyone around them. It is early December now, and they have been squatting there for close to four months. Because it was his idea to move there in the first place, and because he was the one who picked the soldiers of their little army, and because he is the only one who knows anything about carpentry, plumbing, and electric wiring, he is the unofficial leader of the group. Not a beloved leader, perhaps, but a tolerated leader, for they all know the experiment would fall apart without him.
    Ellen was the first person he asked. Without her, he never would have set foot in Sunset Park and discovered the house, and therefore it seemed only fitting to give her the right of first refusal. He has known her since they were small children, when they went to elementary school together on the Upper West Side, but then they lost contact for many years, only to find out seven months ago that they were both living in Brooklyn and were in fact not terribly distant Park Slope neighbors. She walked into the Hospital one afternoon to have something framed, andalthough he didn’t recognize her at first (could anyone recognize a twenty-nine-year-old woman last seen as a girl of twelve?), when he wrote down her name on the order form he instantly understood that this was the Ellen Brice he had known as a boy. Strange little Ellen Brice, all grown up now and working as a real estate agent for a firm on Seventh Avenue and Ninth Street, an artist in her spare time in the same way he is a musician in his spare time, although he has the semblance of a career and she does not. That first afternoon in the shop, he blundered in with his usual friendly, tactless questions and soon learned that she was still unmarried, that her parents had retired to a coastal town