"Say hello to Mr. Matricardi," said Minna.

"Yo," said Danny. Minna punched him on the arm.

"I said say hello to Mr. Matricardi."

"Hello," said Danny sulkily. Minna had never required politeness. Our jobs with him had never taken such a drab turn. We were used to sauntering with him through the neighborhood, riffing, honing our insults.

But we felt the change in Minna, the fear and tension. We would try to comply, though servility lay outside our range of skills.

The two old men sat with their legs crossed, fingers templed together, watching us closely. They were both trim in their suits, their skin white and soft wherever it showed, their faces soft, too, without being fat. The one called Mr. Matricardi had a nick in the top ridge of his large nose, a smooth indented scar like a slot in molded plastic.

"Say hello," Minna told me and Gilbert.

I thought mister catch your body mixture bath retardy whistlecop's birthday mister catch your body mixture bath retardy whistlecop's birthday and didn't dare open my mouth. Instead I fondled the tines of my marvelous stolen fork, which barely fit the length of my corduroy's front pocket. and didn't dare open my mouth. Instead I fondled the tines of my marvelous stolen fork, which barely fit the length of my corduroy's front pocket.

"It's okay," said Matricardi. His smile was pursed, all lips and no teeth. His thick glasses doubled the intensity of his stare. "You all work for Frank?"

What were we supposed to say?

"Sure," volunteered Tony. Matricardi was an Italian name.

"You do what he tells?"

"Sure."

The second man leaned forward. "Listen," he said. "Frank Minna is a good man."

Again we were bewildered. Were we expected to disagree? I counted the tines in my pocket, one-two-three-four, one-two-three-four.

"Tell us what you want to do," said the second man. "Be what? What kind of work? What kind of men?" He didn't hide his teeth, which were bright yellow, like the van we'd unloaded.

"Talk to Mr. Rockaforte," urged Minna.

"They do what you tell them, Frank?" said Rockaforte to Minna. It wasn't small talk, somehow, despite the repetitions. This was an intense speculative interest. Far too much rested on Minna's reply. Matricardi and Rockaforte were like that, the few times I glimpsed them: purveyors of banal remarks with terrifying weight behind them.

"Yeah, they're good kids," said Minna. I heard the hurry in his voice. We'd overstayed our welcome already.

"Orphans," said Matricardi to Rockaforte. He was repeating something he'd been told, rehearsing its value. said Matricardi to Rockaforte. He was repeating something he'd been told, rehearsing its value.

"You like this house?" said Rockaforte, gesturing upward at the ceiling. He'd caught me staring at the scrollwork.

"Yes," I said carefully.

"This is his mother's parlor," said Rockaforte, nodding at Matricardi.

"Exactly as she kept it," said Matricardi proudly. "We never changed a thing."

"When Mr. Matricardi and I were children like yourselves I would come to see his family and we would sit in this room." Rockaforte smiled at Matricardi. Matricardi smiled back. "His mother believe me would rip our ears if we spilled on this carpet, even a drop. Now we sit and remember."

"Everything exactly as she kept it," said Matricardi. "She would see it and know. If she were here, bless her sweet pathetic soul."

They fell silent. Minna was silent too, though I imagined I could feel his anxiety to be out of there. I thought I heard him gulp, actually.

My throat was calm. Instead I worked at my stolen fork. It now seemed so potent a charm, I imagined that if I had it in my pocket I might never need to tic aloud again.

"So tell us," said Rockaforte. "Tell us what you're going to be. What kind of men."

"Like Frank," said Ty, confident he was speaking for us all, and right to be.

This answer made Matricardi chuckle, still toothlessly. Rockaforte waited patiently until his friend was finished. Then he asked Tony, "You want to make music?"

"What?"

"You want to make music?" His tone was sincere.

Tony shrugged. We all held our breath, waiting to understand. Minna shifted his weight, nervous, watching this encounter ramble on beyond his control.

"The belongings you moved for us today," said Rockaforte. "You recognize what those things are?"

"Sure."

"No, no," said Minna suddenly. "You can't do that."

"Please don't refuse our gift," said Rockaforte.

"No, really, we can't. With respect." I could see this was imperative for Minna. The gift, worth thousands if not tens of thousands, must absolutely be denied. I shouldn't bother to form nutty fantasies about the electric guitars and keyboards and amplifiers. Too late, though: My brain had begun to bubble with names for our band, all stolen from Minna: You Fucking Mooks, The Chocolate Cheeseballs, Tony and the Tugboats You Fucking Mooks, The Chocolate Cheeseballs, Tony and the Tugboats.

"Why, Frank?" Matricardi. "Let us bring a little joy. For orphans to make music is a good thing."

"No, please."

Jerks From Nowhere. Free Human Freakshow. I pictured these in place of the band's logo on the skin of the bass drum, and stenciled onto the amplifiers.

"Nobody else will be permitted to take pleasure in that garbage," said Rockaforte, shrugging. "We can give it to your orphans, or a fire can be created with a can of gasoline-it would be no different."

Rockaforte's tone made me understand two things. First, that the offer truly meant nothing to him, nothing at all, and so it could be turned away. They wouldn't force Minna to allow us to take the instruments.

And second, that Rockaforte's strange comparison involving a can of gasoline wasn't strange at all to him. That was now exactly what would happen to the band's equipment.

Minna heard it too, and exhaled deeply. The danger was past. But at the same moment I turned a corner in the opposite direction. My magic fork failed. I began to want to pronounce a measure of the nonsense that danced in my head. Bucky Dent and the Stale Doughnuts Bucky Dent and the Stale Doughnuts- "Here," said Matricardi. He raised his hand, a gentle referee. "We can see it displeases, so forget." He fished in the interior pocket of his suit jacket. "But we insist on a measure of gratitude for these orphan boys who have done us such a favor."

He came out with hundred-dollar bills, four of them. He passed them to Frank and nodded at us, smiling munificently, and why not? The gesture was unmistakably the source for Frank's trick of spreading twenties everywhere, and it instantly made Frank seem somehow childish and cheap that he would bother to grease palms with anything less than a hundred.

"All right," said Minna. "That's great, you'll spoil them. They don't know what to do with it." He was able to josh now, the end in sight. "Say thanks, you peanutheads."

The other three were dazzled, I was fighting my syndrome.

"Thanks."

"Thanks."

"Thanks, Mr. Matricardi."

"Arf!"

After that Minna got us out of there, hustled us through the brownstone's odd hallway too fast even to glance back. Matricardi and Rockaforte had never moved from their chairs, just smiled at us and one another until we were gone. Minna put us all in the back of the van, where we compared hundred-dollar bills-they were fresh, and the serial numbers ran in sequence-and Tony immediately tried to persuade us he should caretake ours, that they weren't safe in the Home. We didn't bite.

Minna parked us on Smith Street, near Pacific, in front of an all-night market called Zeod's, after the Arab who ran it. We sat and waited until Minna came around the back of the van with a beer.

"You jerks know about forgetting?" he said.

"Forgetting what?"

"The names of those guys you just met. They're not good for you to go around saying."

"What should we call them?"

"Call them nothing. That's a part of my work you need to learn about. Sometimes the clients are just the clients. No names."

"Who are they?"

"They're nobody," said Minna. "That's the point. Forget you ever saw them."

"They live there?" said Gilbert.

"Nope. They just keep that place. They moved to Jersey."

"Gardenstate," I said. "Yeah, the Garden State." I said. "Yeah, the Garden State."

"Garden State Brickface and Stucco!" I shouted. Garden State Brickface and Stucco was a renovation firm whose crummy homemade television ads came on channels 9 and 11 during Mets and Yankees games and during reruns of I shouted. Garden State Brickface and Stucco was a renovation firm whose crummy homemade television ads came on channels 9 and 11 during Mets and Yankees games and during reruns of The Twilight Zone The Twilight Zone. The weird name of the firm was already an occasional tic. Now it seemed to me that Brickface and Stucco might actually be Matricardi and Rockaforte's secret names.

"What's that?"

"Garden State Bricco and Stuckface!"

I'd made Minna laugh again. Like a lover, I loved to make Minna laugh.

"Yeah," he said. "That's good. Call them Bricco and Stuckface, you goddamn beautiful freak." He took another slug of beer.

And if memory serves we never heard him speak their real names again.

"Makes you think you're Italian?" said Minna one day, as we all rode together in his Impala.

"What do I look like to you?" said Tony.

"I don't know, I was thinking maybe Greek," said Minna. "I used to know this Greek guy went around knocking up the Italian girls down Union Street, until a couple their older brothers took him out under the bridge. You remind me of him, you know? Got that dusky tinge. I'd say half Greek. Or maybe Puerto Rican, or Syrian."

"Fuck you."

"Probably know all your parents, if you think about it. We're not talking the international jet set here-bunch of teen mothers, probably live in a five-mile radius, need to know the goddamn truth."

So it was, with this casual jaunt against Tony's boasts, that Minna appeared to announce what we already half suspected-that it was not only his life that was laced with structures of meaning but our own, that these master plots were transparent to him and that he held the power to reveal them, that he did know our parents and at any moment might present them to us.

Other times he taunted us, playing at knowledge or ignorance-we couldn't know which it was. He and I were alone when he said, "Essrog, Essrog. That name." He crunched up his mouth and squinted, as if trying to remember, or perhaps to read a name inscribed on the distant Manhattan skyline.

"You know an Essrog?" I said, my breath short, heart pounding. "Edgehog!" "Edgehog!"

"No. It's just-You ever look it up in the phone book? Can't be more than three or four Essrogs, for chrissakes. Such a weird name." Later, at the Home, I looked. There were three.

Minna's weird views filtered down through the jokes he told and liked to hear, and those he cut short within a line or two of their telling. We learned to negotiate the labyrinth of his prejudices blind, and blindly. Hippies were dangerous and odd, also sort of sad in their utopian wrongness. ("Your parents must of been hippies," he'd tell me. "That's why you came out the superfreak you are.") Homosexual men were harmless reminders of the impulse Minna was sure lurked in all of us-and "half a fag" was more shameful than a whole one. Certain baseball players, Mets specifically (the Yankees were m t but boring, the Mets wonderfully pathetic and human), were half a fag-Lee Mazzilli, Rusty Staub, later Gary Carter. So were most rock stars and anyone who'd been in the armed services but not in a war. Lesbians were wise and mysterious and deserved respect (and how could we who relied on Minna for all our knowledge of women argue when he himself grew baffled and reverent?) but could still be comically stubborn or stuck up. The Arabic population of Atlantic Avenue was as distant and unfathomable as the Indian tribes that had held our land before Columbus. "Classic" minorities-Irish, Jews, Poles, Italians, Greeks and Puerto Ricans-were the clay of life itself, funny in their essence, while blacks and Asians of all types were soberly snubbed, unfunny (Puerto Ricans probably should have been in this second class but had been elevated to "classic" status single-handedly by West Side Story West Side Story-and all Hispanics were "Ricans" even when they were Dominicans, as they frequently were). But bone stupidity, mental illness, and familial or sexual anxiety-these were the bolts of electricity that made the clay walk, the animating forces that rendered human life amusing and that flowed, once you learned to identify them, through every personality and interaction. It was a form of racism, not respect, that restricted blacks and Asians from ever being stupid like a Mick or Polack. If you weren't funny, you didn't quite exist. And it was usually better to be fully stupid, impotent, lazy, greedy or freakish than to seek to dodge your destiny, or layer it underneath pathetic guises of vanity or calm. So it was that I, Overt Freak Supreme, became mascot of a worldview.

I called the Brooklyn directory's Essrogs one day when I was left alone for twenty minutes in a warehouse office, waiting for Minna to return, slowly picking out the numbers on the heavy rotary dial, trying not to obsess on the finger holes. I'd perhaps dialed a phone twice at that point in my life.

I tried F. Essrog and Lawrence Essrog and Murray and Annette Essrog F. Essrog and Lawrence Essrog and Murray and Annette Essrog. F. wasn't home. Lawrence's phone was answered by a child. I listened for a while as he said "Hello? Hello?," my vocal cords frozen, then hung up.

Murray Essrog picked up the phone. His voice was wheezy and ancient.

"Essrog?" I said, and whispered Chestbutt Chestbutt away from the phone. "Yes. This is the Essrog residence, Murray speaking. Who's this?" away from the phone. "Yes. This is the Essrog residence, Murray speaking. Who's this?"

"Baileyrog," I said.

"Who?"

"Bailey."

He waited for a moment, then said, "Well, what can I do for you, Bailey?"

I hung up the phone. Then I memorized the numbers, all three of them. In the years that followed I would never once step across the line I'd drawn with Murray or the other telephone Essrogs-never show up at their homes, never accuse them of being related to a free human freak show free human freak show, never even properly introduce myself-but I made a ritual out of dialing their numbers and hanging up after a tic or two, or listening, just long enough to hear another Essrog breathe.

A true story, not a joke, though it was repeated as often, tugboated relentlessly, was of the beat cop from Court Street who routinely dislodged clumps of teenagers clustered at night on stoops or in front of bars and who, if met with excuses, would cut them off with "Yeah, yeah. Tell your story walking." walking." More than anything, this somehow encapsulated my sense of Minna-his impatience, his pleasure in compression, in ordinary things made more expressive, more hilarious or vivid by their conflation. He loved talk but despised explanations. An endearment was flat unless folded into an insult. An insult was better if it was also self-deprecation, and ideally should also serve as a slice of street philosophy, or as resumption of some dormant debate. And all talk was finer on the fly, out on the pavement, between beats of action: We learned to tell our story walking. More than anything, this somehow encapsulated my sense of Minna-his impatience, his pleasure in compression, in ordinary things made more expressive, more hilarious or vivid by their conflation. He loved talk but despised explanations. An endearment was flat unless folded into an insult. An insult was better if it was also self-deprecation, and ideally should also serve as a slice of street philosophy, or as resumption of some dormant debate. And all talk was finer on the fly, out on the pavement, between beats of action: We learned to tell our story walking.

Though Gerard Minna's name was printed on the L&L business card, we met him only twice, and never on a moving job. The first time was Christmas Day, 1982, at Minna's mother's apartment.

Carlotta Minna was an Old Stove. That was the Brooklyn term for it, according to Minna. She was a cook who worked in her own apartment, making plates of sauteed squid and stuffed peppers and jars of tripe soup that were purchased at her door by a constant parade of buyers, mostly neighborhood women with too much housework or single men, young and elderly, bocce players who'd take her plates to the park with them, racing bettors who'd eat her food standing up outside the OTB, barbers and butchers and contractors who'd sit on crates in the backs of their shops and wolf her cutlets, folding them with their fingers like waffles. How her prices and schedules were conveyed I never understood-perhaps telepathically. She truly worked an old stove, too, a tiny enamel four-burner crusted with ancient sauces and on which three or four pots invariably bubbled. The oven of this herculean appliance was never cool; the whole kitchen glowed with heat like a kiln. Mrs. Minna herself seemed to have been baked, her whole face dark and furrowed like the edges of an overdone calzone. We never arrived without nudging aside some buyers from her door, nor without packing off with plateloads of food, though how she could spare it was a mystery, since she never seemed to make more than she needed, never wasted a scrap. When we were in her presence Minna bubbled himself, with talk, all directed at his mother, banking cheery insults off anyone else in the apartment, delivery boys, customers, strangers (if there was such a thing to Minna then), tasting everything she had cooking and making suggestions on every dish, poking and pinching every raw ingredient or ball of unfinished dough and also his mother herself, her earlobes and chin, wiping flour off her dark arms with his open hand. She rarely-that I saw, anyway-acknowledged his attentions, or even directly acknowledged his presence. And she never once in my presence uttered so much as a single word.

That Christmas Minna had us all up to Carlotta's apartment, and for once we ate at her table, first nudging aside sauce-glazed stirring spoons and unlabeled baby-food jars of spices to clear spots for our plates. Minna stood at the stove, sampling her broth, and Carlotta hovered over us as we devoured her meatballs, running her floury fingers over the backs of our chairs, then gently touching our heads, the napes of our necks. We pretended not to notice, ashamed in front of one another and ourselves to show that we drank in her nurturance as eagerly as her meat sauce. But we drank it. It was Christmas, after all. We splashed, gobbled, kneed one another under the table. Privately, I polished the handle of my spoon, quietly aping the motions of her fingers on my nape, and fought not to twist in my seat and jump at her. I focused on my plate-eating was for me already by then a reliable balm. All the while she went on caressing, with hands that would have horrified us if we'd looked close.

Minna spotted her and said, "This is exciting for you, Ma? I got all of Motherless Brooklyn up here for you. Merry Christmas."

Minna's mother only produced a sort of high, keening sigh. We stuck to the food.

"Motherless Brooklyn," repeated a voice we didn't know. repeated a voice we didn't know.

It was Minna's brother, Gerard. He'd come in without our noticing. A fleshier, taller Minna. His eyes and hair were as dark, his mouth as wry, lips deep-indented at the corners. He wore a brown-and-tan leather coat, which he left buttoned, his hands pushed into the fake-patch pockets.

"So this is your little moving company," he said.

"Hey, Gerard," said Minna.