A Graveyard for Lunatics

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“Good God!” I said. “He made me forget!”

Last night. The cold rain. The high wall. The body.

I parked my bike outside Stage 13.

A studio policeman, passing, said, “You got a permit to park there? That’s Sam Shoenbroder’s slot. Call the front office.”

“Permit!” I yelled. “Holy Jumping Jesus! For a bike?”

I slammed the bike through the big double airlock door into darkness.

“Roy?!” I shouted. Silence.

I looked around in the fine darkness at Roy Holdstrom’s toy junkyard.

I had one just like it, smaller, in my garage.

Strewn across Stage 13 were toys from Roy’s third year, books from his fifth, magic sets from when he was eight, electrical experiment chemistry sets from when he was nine and ten, comic collections from Sunday cartoon strips when he was eleven, and duplicate models of Kong when he turned thirteen in 1933 and saw the great ape fifty times in two weeks.

My paws itched. Here were dime-store magnetos, gyroscopes, tin trains, magic sets that caused kids to grind their teeth and dream of shoplifting. My own face lay there, a life mask cast when Roy Vaselined my face and smothered me with plaster of paris. And all about, a dozen castings of Roy’s own great hawk profile, plus skulls and full-dress skeletons tossed in corners or seated in lawn chairs; anything to make Roy feel at home in a stage so big you could have shoved the Titanic through the spaceport doors with room left over for Old Ironsides.

Across one entire wall Roy had pasted billboard-sized ads and posters from The Lost World, Kong, and Son of Kong, as well as Dracula and Frankenstein. In orange crates at the center of this Woolworth dime-store garage sale were sculptures of Karloff and Lugosi. On his desk were three original ball-and-socket dinosaurs, given as gifts by the makers of The Lost World, the rubber flesh of the ancient beasts long melted to drop off the metal bones.

Stage 13 was, then, a toy shop, a magic chest, a sorcerer’s trunk, a trick manufactory, and an aerial hangar of dreams at the center of which Roy stood each day, waving his long piano fingers at mythic beasts to stir them, whispering, in their ten-billion-year slumbers.

It was into this junkyard, this trash heap of mechanical avarice, greed for toys, and love for great ravening monsters, guillotined heads, and unraveled tarbaby King Tut bodies, that I picked my way.

Everywhere were vast low-lying tents of plastic covering creations that only in time would Roy reveal. I didn’t dare look.

Out in the middle of it all a barebone skeleton held a note, frozen, on the air. It read:

CARL DENHAM!

That was the name of the producer of King Kong.

THE CITIES OF THE WORLD, FRESHLY CREATED, LIE HERE UNDER TARPAULINS WAITING TO BE DISCOVERED. DO NOT TOUCH. COME FIND ME.

THOMAS WOLFE WAS WRONG. YOU CAN GO HOME AGAIN. TURN LEFT AT CARPENTERS’ SHEDS, SECOND OUTDOOR SET ON THE RIGHT. YOUR GRANDPARENTS ARE WAITING THERE! COME SEE! ROY.

I looked around at the tarpaulins. The unveiling! Yes!

I ran, thinking: What does he mean? My grandparents? Waiting? I slowed down. I began to breathe deeply of a fresh air that smelled of oaks and elms and maples.

For Roy was right.

You can go home again.

A sign at the front of outdoor set number two read: FOREST PLAINS, but it was Green Town, where I was born and raised on bread that yeasted behind the potbellied stove all winter, and wine that fermented in the same place in late summer, and clinkers that fell in that same stove, like iron teeth, long before spring.

I did not walk on the sidewalks, I walked the lawns, glad for a friend like Roy who knew my old dream and called me to see.

I passed three white houses where my friends had lived in 1931, turned a corner, and stopped in shock.

My dad’s old 1929 Buick was parked in the dust on the brick street, waiting to head west in 1933. It stood, rusting quietly, its headlights dented, its radiator cap flaked, its radiator honeycomb-papered over with trapped moths and blue and yellow butterfly wings, a mosaic caught from a flow of lost summers.

I leaned in to stroke my hand, trembling, over the prickly nap of the back-seat cushions, where my brother and I had knocked elbows and yelled at each other as we traveled across Missouri and Kansas and Oklahoma and…

It wasn’t my dad’s car. But it was.

I let my eyes drift up to find the ninth greatest wonder of the world:

My grandma and grandpa’s house, with its porch and its porch swing and geraniums in pink pots along the rail, and ferns like green sprinkler founts all around, and a vast lawn like the fur of a green cat, with clover and dandelions studding it in such profusion that you longed to tear off your shoes and run the whole damned tapestry barefoot. And—

A high cupola window where I had slept to wake and look out over a green land and a green world.

In the summer porch swing, sailing back and forth, gently, his long-fingered hands in his lap, was my dearest friend …

Roy Holdstrom.

He glided quietly, lost as I was lost in some midsummer a long time back.

Roy saw me and lifted his long cranelike arms to gesture right and left, to the lawn, the trees, to himself, to me.

“My God,” he called, “aren’t we—lucky?”