Rabbit Redux [antikvár]

I. POP/MOM/MOON MEN emerge pale from the little printing plant at four sharp, ghosts for an instant, blinking, until the outdoor light overcomes the look of constant indoor light clinging to them. In winter. Pine Street at this hour is dark, darkness presses down early from the mountain that hangs above the stagnant city of Brewer; but now in summer the granite curbs starred with mica and the row houses differentiated by speckled bastard sidings and the hopeful small porches with their jigsaw brackets and gray milk-botde boxes and the sooty ginkgo trees and the baking curbside cars wince beneath a brilliance like a frozen explosion. The city, attempting to revive its dying downtown, has torn away blocks of buildings to create parking lots, so that a desolate openness, weedy and rubbled, spills through the once-packed streets, exposing church façades never seen from a distance and generating new perspectives of rear entryways and half-alleys and intensifying the cruel breadth of the light. The sky is cloudless yet colorless, hovering blanched humidity, in the way of these Pennsylvania summers, good for nothing but to make green things grow. Men don't even tan; filmed by sweat, they tum yellow. A man and his son, Earl Angstrom and Harry, are among the printers released from work. The father is near retirement, a thin man with no excess left to him, his face washed empty by grievances and caved in above the protruding slippage of bad false teeth. The son is five inches taller and fatter; his prime is soft, somehow pale and sour. The small nose and slightly lifted upper lip that once made the nickname Rabbit fit now seem, along with the thick waist and cautious stoop bred into him by a decade of the Lino-typer's trade, clues to weakness, a weakness verging on anonymity. Though his height, his bulk, and a remnant alertness in the way he moves his head continue to distinguish him on the street, years have passed since anyone has called him Rabbit.