Free Timbuktu by Paul Auster

powerful. Every night for seven years, Mr. Bones had drifted off to sleep on the waves of that music, and by now it was a signal that all was right with the world, that no matter how hungry or miserable you felt at that moment, the time had come to put aside your cares and float into the land of dreams. After some minor readjustments of position, that was precisely what Mr. Bones did. He laid his head on Willy’s stomach, Willy’s arm involuntarily lifted itself up into the air, then came down to rest across the dog’s back, and the dog fell asleep.
    That was when he dreamed the dream in which he saw Willy die. It began with the two of them waking up, opening their eyes and emerging from the sleep they had just fallen into—which was the sleep they were in now, the same one in which Mr. Bones was dreaming the dream. Willy’s condition was no worse than it had been before the nap. If anything, it appeared to be a tad better because of it. For the first time in several moons, he didn’t cough when he stirred, didn’t lapse into another fit, didn’t seize up in a gruesome frenzy of gasping, choking, and blood-tinged expectorations. He simply cleared his throat and started talking again, picking up almost exactly where he had left off earlier.
    He went on for what seemed to be another thirty or forty minutes, charging ahead in a delirium of half-formed sentences and broken-off thoughts. He swam up from the bottom of the sea, took a deep breath, and began to talk about his mother. He made a list of Mom-san ’s virtues, countered with a list of her faults, and then begged forgiveness for any sufferings he might have caused her. Before moving on to the next thing, he recalled her talent for bungling jokes, fondly regaling Mr. Bones with examples of her unerring knack for forgetting punch lines at the last minute. Then he reeled off another list—this one of all the women he had ever slept with (physical descriptions included)—and followed that with a long-winded diatribe against the perils of consumerism. Then, suddenly, he was delivering a treatise on the moral advantages of homelessness, which ended with a heartfelt apology to Mr. Bones for dragging him down to Baltimore on what had turned out to be a wild-goose chase. “I forgot to add the letter g,” he said. “I didn’t come for Bea Swanson; I came to give my swan song,” and immediately after that he was reciting a new poem, an apostrophe to the invisible demiurge who was about to claim his soul. Apparently composed off the top of his head, its opening stanza went something like this:
    O Lord of the ten thousand blast furnaces and dungeons,
    Of the pulverizing hammer and chain-mail gaze,
    Dark Lord of the salt mines and pyramids,
    Maestro of the sand dunes and flying fish,
    Listen to the prattle of your poor servant,
    Dying on the shores of Baltimore
    And headed for the Great Beyond…
    After the poem dribbled away, it was replaced by more laments and fugues, more unpredictable sputterings on any number of themes: the Symphony of Smells and why the experiment failed, Happy Felton and the Knothole Gang (who the hell was he?), and the fact that the Japanese ate more rice grown in America than in Japan. From there he drifted into the ups and downs of his literary career, wallowing for several minutes in a bog of pent-up grievances and morbid self-pity, then roused his spirits for a while to talk about his college roommate (the same one who had taken him to the hospital in 1968)—a guy named Anster, Omster, something like that— who had gone on to write a number of so-so books and had once promised Willy to find a publisher for his poems, but of course Willy had never sent him the manuscript and that was that, but it proved that he could have been published if he’d wanted to be—he just didn’t want to, that’s all, and who the fuck cared about that vainglorious bullshit anyway? The doing was what mattered, not what you did with it after it was done, and as