Terrorist

Stepping around the carelessly made bed, its blanket tugged up roughly, he surveys the walls with a respectful squint. "You really sell this stuff?"

He regrets his phrasing; she goes defensive. "Some, not all. Not even Rembrandt and Picasso sold all their work, right away."

"Oh, no, I didn't mean…" he blusters. "They're very striking; you just don't expect it, walking in."

"I'm experimenting," she says, mollified and willing to go on, "with straight out of the tube. The viewer, that way, mixes the colors with his eye."

"Terrific," Jack Levy says, hoping to conclude this part of the conversation. He is out of his element.

She has got a kettle of water heating on the little electric coil set on a bureau whose top is crusty with spilled or wiped-off oil colors. He finds her paintings pretty wild but he likes the atmosphere in here, the messiness and the icy-clear fluorescent lights overhead. The smell of paints speaks to him, like the fragrance of wood shavings, of a bygone time when people made things by hand, hunched over in their own cottages. "Maybe you'd prefer herbal tea," she says. "Chamomile makes me sleep like a baby." Her eyes glance his way, testing. "Except when I wake up four hours later." Needing to go pee, she doesn't say.

"Yeah," he says. "That's the problem."

Cut short and knowing it, she blushes and tends to the water, which already is sending a plume of steam out through the hole in its hinged spout cap. "I forget what you said about what kind of tea. Chamomile or what?"

He resists this woman's New Age side. Next thing she'll be pulling out her crystals and / Ching sticks. He says, "I thought we had agreed on instant decaf, even though it always tastes scalded."

Her color stays high under her sifting of freckles. "If you feel that way about it, maybe you don't want anything."

"No, no, Miss-Mrs.-" He gives up trying to name her. "Anything wet and hot would be fine. Anything you want. You're being very gracious. I didn't expect-"

"I'll get the decaf and check on Ahmad. He hates studying when I'm not in and out of the living room; he feels he's not getting credit, you know?"

Teresa disappears, and when she comes back with, a stubby jar of brown powder in her hand-a short-nailed, firm-fleshed hand tbat does things-Jack has turned off the hot plate so tbe water wouldn't boil away. Her mothering has taken some minutes; he could hear her in the other room bantering in a light, probing, female voice, and her son's scarcely deeper voice whining and groaning back at her with those inarticulate high-school denials he knows too well- as if the very existence of adults is a cruel and needless trial they're being put to. Jack tries to pick up on this: "So you see your son as a pretty typical, average eighteen-year-old?"

"Isn't he?" Her maternal side is a sensitive side; her beryl-green eyes bulge out at him between colorless lashes that must get mascara from time to time, but not today or yesterday. The hair at her hairline is a lighter, softer tint than the metallic red up top. The set of her lips, the plump upper one lifted a bit as with someone listening hard, tells him that he has used up her initial gush of friendliness. She comes on strong, then gets impatient, is his take.

"Maybe," he tells her. "But something's throwing him off." Jack gets down to the business he came for. "Listen. He doesn't want to be a truck driver."

"He doesn't? He thinks he does, Mr.-"

"Levy, Teresa. Like in 'Down by the levee' but spelled differently. Somebody's putting pressure on Ahmad, for whatever reason. He can do better than be a trucker. He's a smart, clean-cut kid, with a lot of i

"What would he study at college?"

"What anybody studies-science, art, history. The story of mankind, of civilization. How we got here, what now. Sociology, economics, anthropology even-whatever turns him on. Let him feel his way. Few college students nowadays know what they want to do at first, and the ones that do get their minds changed. That's the purpose of college, to let you change your mind, so you can handle the twenty-first century. Me, I can't. When I was in college, who ever heard of computer science? Who knew about genomes and how they can track evolution? You, you're a lot younger than I, maybe you can. These new-style paintings of yours-you're making a start."

"They're very conservative, really," she says. "Abstraction's old hat." The open set of her lips has closed; his remark about painting was dumb.

He hurries to finish his pitch. "Now, Ahmad-"

"Mr. Levy. Jack." She has become a different person, sitting widi her too-hot decaf on a kitchen stool bought unpainted and never varnished. She lights a cigarette and props one foot, in a crepe-soled blue canvas shoe, on a rung and crosses her legs. Her pants, tight white jeans, bare her ankles. Blue veins wander through die white skin, Irish-white skin; the ankles are bony and lean, considering die soft heft of the rest of her. Beth's weight has had twenty more years than this woman's to settle low, drooping over her shoes and taking all the anatomy out of her ass. Jack, though he used to be a two-packs-a-day Old Golds man, has grown unused to people smoking, even in the school's faculty room, and the smell of burning tobacco is deeply familiar to him but verges on being scandalous. The stylized acts of lighting up, inhaling, and hurling smoke violently out of her pursed lips give Terry-how her paintings are signed, big and legibly, with no last name-an edge. "Jack, I appreciate your interest in Ahmad and would have been more so if die school had shown any interest in my son before a month before graduation."

"We're swamped over there," he interrupts. "Two thousand students, and half of them it would be kind to call dysfunctional. The squeakiest wheels get the attention. Your son never made trouble, was his mistake."

"Regardless, at diis phase of his development he sees what college offers, those subjects you name, as part of godless Western culture, and he doesn't want more of it than he absolutely can't avoid. You say he never made trouble, but it was more tiian that: he sees his teachers as die troublemakers, worldly and cynical and just in it for the paycheck-the short hours and summer vacations. He thinks they set poor examples. You've heard die expression, 'above it all'?"

Levy merely nods, letting this now-cocky woman run on. What she might tell him about Ahmad could be a help.

"My son is above it all," she states. "He believes in the Islamic God, and in what the Koran tells him. I can't, of course, but I've never tried to undermine his faith. To someone without much of one, who dropped out of die Catholic package when she was sixteen, his faith seems rather beautiful."

Beauty, then, is what makes her tick-attempts at it on the wall, all that sweet-smelling paint drying, and letting her boy hang out to dry in grotesque, violent superstition. Levy asks, "How did he get to be so-so good? Did you set out to raise him as a Muslim?"

"No, Christ," she says, dragging deep, playing die tough girl, so that her roused eyes seem to burn along with die tip of the cigarette. She laughs, having heard herself. "How do you like that for a Freudian slip? 'No, in nomine Domini.' Islam meant nothing to me-less than nothing, to be accurate: it had a negative rating. And it meant not much more to his father. Omar never went to a mosque that I could see, and whenever I'd try to raise the subject he'd clam up, and look sore, as if I was pushing in where I had no business. 'A woman should serve a man, not try to own him,' he'd say, as if he were quoting some kind of Holy Writ. He'd made it up. What a pompous, chauvinistic horse's ass he was, really. But I was young and in love-in love mostly with him being, you know, exotic, third-world, put-upon, and my marrying him showing how liberal and liberated I was."