J. doesn’t have an opinion either way. While accustomed to thinking of four varieties of Bob, his work will not change if Bob’s Alive! is ratified and passed by the body of junketeers. He will weather the rough seas of the polemic. Puff is puff; it is puff. Observing the debate from the sidelines, he will wait for the smoke to clear, and continue to perform his function as he has for many years now. J. saws off a corner of prime rib and sticks it in his mouth. One piece left. He decides to finish off the limp broccoli and save the final bit of beef for the end.

  Tiny rails against Bob’s Alive! “I was against Bob Is Hip, too,” he reminds them with a snarl. “I never thought we should have gone that way. It’s too diffuse—this is a prime example.”

  “I remember your whining,” Frenchie recalls.

  “And now you want to go and bring in this Bob’s Alive! thing. Is Talcott Alive?”

  “I said New South,” Dave corrects. “That’s a trend piece. I can bring in improved race relations. It’s Bob’s Hip. Talcott is hip, they have a black hero. I can bring in Atlanta. I can bring in lots of stuff. Houston—Houston is hot now, it’s attracting a lot of diversity.”

  “I’d go for Debut personally,” Frenchie says.

  “Debut?” Dave asks. “John Henry has been around for years, this town is a physical thing that has a history. I don’t personally care to know what that history is, but it surely exists. I think trend is perfectly appropriate.”

  “See what I’m talking about?” Tiny thunders, spraying droplets of a substance from his beard like a dog shaking off rain. “You could make a case for Talcott as Debut, Comeback or Return or Hip. It’s all jumbled up now. I’m accustomed to four varieties of puff and I like it like that. Four elements, four humors, four seasons, four varieties of puff. Otherwise why have categories at all? Why not make everything a category. A puff for every little thing.”

  “We already have that,” One Eye interjects. “We call them magazines.” One Eye has been quiet all night, and after his comment he looks back down at his food and prods corn. J. asks him if anything is wrong.

  “Just thinking is all,” One Eye says.

  “Thinking about your secret mission?”

  “What?”

  “You said in the van. A mission that could change the course of human events.”

  One Eye’s one eye narrows. He had forgotten he mentioned it. Dave, Tiny and Frenchie continue their argument. One Eye leans over to J. and whispers, “I’m taking my name off the List. Permanently.”

  “You renounce Satan and all his works? How do you intend to do that?”

  “I have been plotting and planning, my friend, plotting and planning.” His face illegible. “I’ve had this event circled in my filofax for some time now.”

  Before he can question One Eye further, J. sees Arlene go up to the podium. The musical entertainment. The red light beckons. Deciding he better get seconds on the prime rib before they close the food down, he throws his napkin on the seat and hustles. No hick is going to gyp him of his bounty. He removes himself and scurries over to the red light. One Eye looks disappointed, but J. figures he can pick up the conversation later. Arlene describes the singing prowess of one of the sons of Talcott, a boy who will go on to great things. This time J. doesn’t take any vegetables. He asks for five proud slabs of prime rib. A young man departs one of the tables near the podium, a burly teenager with a soft balloon face. His baby fat has never gone away; it has chased the teenager’s growth inch for inch, keeping in step, swelling proportionally. At the boy’s table are an older man and woman—his mother and father, J. gathers. He hadn’t noticed them before. That makes five black folks in the room. Who says integration can’t work, he asks himself.

  J. returns to the table, plate before him, the raja’s rubies on a velvet bed. Dave and the others are watching the boy get himself together at the podium. He wears a black church suit and a brazen red tie clenched by a clumsy fat knot. His eyes and mouth, tiny things, disappear into his soft face like the buttons of a plush couch. The boy looks a little nervous, but then he starts to sing, and from the depths of him rouses a gorgeous baritone—it reels from the amplifiers like a flock of dazzling birds. The boy sings the “Ballad of John Henry.” The boy sings,

  John Henry was just a baby,

  When he fell on his mammy’s knee;

  He picked up a hammer and a little piece of steel,

  Said, “This hammer will be the death of me, Lord, Lord,

  This hammer will be the death of me.”

  John Henry was a very small boy

  Sitting on his father’s knee,

  Said, “The Big Bend Tunnel on the C&O road

  Is gonna be the death of me, Lord, Lord,

  Is gonna be the death of me.”

  John Henry went upon a mountain

  And came down on the side;

  The mountain was so tall, John Henry was so small,

  That he laid down his hammer and he cried, “Lord, Lord,”

  That he laid down his hammer and he cried.

  The rude talk that pestered the earlier speakers disperses. Lord, Lord: He hacks at primal truth and splinters off words and the men and women ache. Enraptured, all of them, openmouthed in beatitude and slack in delight at the nimble phrasings of the boy. Except for J. J. attacks the prime rib. He has not had his fill. He cuts off a piece ringed by a crust of blackened fat and sticks it in his mouth. It is a big piece, a hearty plug of meat, he doesn’t know what time he’ll eat tomorrow and he needs the meat. He rends tendrils of meat with his teeth, repositions them with his tongue, rends them further. He swallows quickly, another piece already impaled on his merciless tines, and the plug catches in his throat. He can’t breathe.

  The boy sings,

  John Henry told his captain,

  “Captain go to town

  And bring me back two twenty-pound hammers,

  And I’ll sure beat your steam drill down. Lord, Lord,

  And I’ll sure beat your steam drill down.”

  John Henry told his people,

  “You know that I’m a man.

  I can beat all the traps that have ever been made,

  Or I’ll die with my hammer in my hand, Lord, Lord,

  Or I’ll die with my hammer in my hand.”

  The steam drill set on the right-hand side,

  John Henry was on the left.

  He said, “I will beat that steam drill down

  Or hammer my fool self to death, Lord, Lord,

  Or hammer my fool self to death.”

  It won’t go down. He tries to swallow again but the plug will not oblige him. It is a stern and vengeful plug of meat. He tries to swallow again, panic trebling. Surely he isn’t choking. It won’t go down. He’s going to die on a junket? This is some far-out shit, this is a fucking ironic way to go. Is he using ironic incorrectly? The copy editors are going to kill him. They are really cracking down on the misuse of the word ironic, it’s like this global cabal of comma checkers and run-on sentences and fragments. Roaring in his ears. Why won’t it go down? He finds it inconceivable that no one knows what is going on with him. They are looking at the boy and listening to his words. He has a problem asking for help. He does not want to look weak. And it might not be an emergency. Surely it will pass. The meat is just fucking with him. He could jump up, slam the table, knock over their free drinks, that would get their attention. But he’s sitting there choking, quietly choking. Is this his pattern? That sounds like a diagnosis. And if he can self-diagnose, he can self-medicate. He has practice in that area. But you can’t do that when your throat is stopped. Seduced by a red illumination. Bang, whimper, what the fuck. The boy sings,

  John Henry dropped the ten-pound hammer,

  And picked up the twenty-pound sledge;

  Every time his hammer went down,

  You could see that steel going through, Lord, Lord,

  You could see that steel going through.

  John Henry was just getting started,

  Steam drill was half way down;

  John Henry said, “You’re ahead right now,

  But I’ll beat you on the last go-around, Lord, Lord,

  I’ll beat you on the last go-around.”

  What’s this guy singing? He’s choking on the stubborn plug of meat. John Henry, John Henry. He works on the C&O Railroad. He pushes puff, he is going for the record. His muscles must be jumping out of his skin. It won’t move, it sits like a bullet in his throat. No oxygen for me, thanks, I’ve had enough. Luke Cage the Marvel Comics superhero had bulletproof skin. At one point he had a sticker book where he kept stickers of Marvel Comics superheroes, they jumped out of the page, dynamic, Avengers Assemble and all that, muscles on full ripple, Luke Cage the jive-talking ex-con. This is what we get. Your whole life is supposed to flash before your eyes and this is what I get. Step into the light. Red light? What was up with that yellow shirt he wore anyway, some sleazy guy in a disco laying lines on the ladies, Luke Cage. He finds it incredible that in this crushing and collapsing time, he has the time to think these thoughts. But they say your life flashes before your eyes. I’m a sophisticated black man from New York City and I’m going to die down here. With cicadas, they got cicadas down here, don’t they. I want roaches, real crumb-eating fucks from out of the drain.

  The boy sings,

  John Henry told his shaker,

  “Big boy, you better pray

  For if I miss this six-foot steel,

  To-morrow will be your burying day, Lord, Lord,

  To-morrow will be your burying day.”

  The men that made that steam drill

  Thought it was mighty fine;

  John Henry drove his fourteen feet,

  While the steam drill only made nine, Lord, Lord,

  While the steam drill only made nine.

  John Henry went home to his good little woman,

  Said, “Polly Ann, fix my bed,

  I want to lay down and get some rest,

  I’ve an awful roaring in my head, Lord, Lord,

  I’ve an awful roaring in my head.”

  Isn’t there something he is supposed to do? He feels like he is falling from a height. He can’t think of it. He can excrete twelve hundred words in two hours and yet he can’t think of any last words. How about an epitaph? He can’t get farther than his name and the pertinent bookend dates. He slaps the table to get their attention. Their drinks jump. He sees a restaurant sign, yellow and deep blue, on the wall of a restaurant, on the walls of infinite restaurants. Who wants to be the guy in the picture turning blue? Black folks turn blue? Look for the telltale signs. Pictographs. Certainly public service announcements, like road signs and airport signs, need a simple language. Simple message, simple expression. Is that a journalistic axiom? He can’t remember, and yet it sounds so official. Nobody notices his death. Sensation of falling. Who wants to be the blue guy in the choking picture on the wall of a cheap restaurant? Where is this place’s sign? There must be laws about the placement of the signs, eating establishments must post them in convenient places. Federal law, but then maybe they vary from state to state. States’ rights! States’ rights, these people love their states’ rights, signs on fountains, back of the bus, Rosa Parks. This place will fucking kill him. He should have known better. A black man has no business here, there’s too much rough shit, too much history gone down here. The Northern flight, right: we wanted to get the fuck out. That’s what they want, they want us dead. It’s like the song says.

  The boy sings,

  John Henry told his woman,

  “Never wear black, wear blue.”

  She said, “John, don’t never look back,

  For, honey, I’ve been good to you, Lord, Lord,

  For, honey, I’ve been good to you.”

  John Henry was a steeldriving man,

  He drove in many a crew;

  He has now gone back to the head of the line

  To drive the heading on through, Lord, Lord,

  To drive the heading on through.

  He stops falling. His body bursts and he is jerked up out of his seat. Involuntary Physical Response: the signs people keep on their lawns to repel burglars? He jumps out of his seat. My eyes must be popping out my head like some coon cartoon. His hands point to his throat. Can’t these people see what’s going on? The boy keeps singing. The pain is in his throat, around his throat and he would like them to make it stop. All these crackers looking up at me, looking up at the tree. Nobody doing nothing, just staring. They know how to watch a nigger die.

  The first blow shattered half the bones in the boy’s hand and the second shattered the other half. There was no way he could stop his hammer from coming down the second time. He was swinging his next blow before his first struck the bit. That night in the grading camp someone said that they could hear the boy’s scream all the way on top of the mountain and down in the shafts, louder than the sound of blasting. The boy’s hand was all chewed up. The doctor would have to cut it off. The shale dust settled into the blood and melted into it like too-early snow. The other driver dropped his sledge and his shaker told one of the water carriers to run for help. They had stopped singing. This was time out of the Captain’s timetable.

  John Henry looked down at the boy. He had the build, but anyone could see he wasn’t a shaker. Too much of the rabbit in him. The boss had told him the boy was a shaker on the west end and had been reassigned to fill in for L’il Bob. L’il Bob had been coughing fiercely the last few days and needed a day of fresh air to clear out his chest. He kept a bucket by his cot for what he spat up. No one mentioned miner’s consumption, the black rot of the lungs caused by the foul air. Between the smoke from the lard and blackstrap candles, the rock dust and the blasting fumes it was a miracle they all weren’t sick after a year in a tunnel. There was still time. L’il Bob didn’t want to get caught coughing and lose his grip on the drill bit. It turned out the boy hadn’t been a shaker on the west end; he’d carried water, and only for a week. What you needed were steady hands and speed, but what you needed most of all was faith. The sledge came down and drove the drill bit into the rock and the shaker had to twist the bit between blows to loosen the dust in the hole and keep the bit level for the next blow. Two quick shakes and a twist made the rock dust fly out of the hole. You had to have steady hands and speed, but you had to have faith. You had to know that the driver wasn’t going to miss and smash your hands and ruin them. You had to hold it straight. John Henry and L’il Bob understood each other, which is why John Henry didn’t like breaking in a new shaker. You had to hold it straight or you’d never hold anything in that hand again. The boy did fine for half the day, but then John Henry could see him get lazy or lose attention or maybe he just realized how crazy the job was. The candlelight was dim and useless. The candles in their hats sometimes snuffed out suddenly, the Lord blew them out, and the hammer fell mightily in darkness. The shaker’s hands better be where they had to be when that happened. If the bit got dull, or the hole got too deep for a six-foot bit and they needed an eight-foot bit, the shaker had to replace it without letting the steeldriver miss a blow. The rhythm was all. L’il Bob did his work well. The boy did fine for a long time. But then he was slow, that one time, and the bit was not level. No question he would lose that hand.

  He looked down at the boy. The boy sat on the ground, leaning against a powder can, looking at his hand and screaming to split his head open. The other driver, George, tended to him. He wrapped the rope around the boy’s wrist to stop the blood. John Henry looked down at them. They were blackened by dust and oily with sweat, yellow and brown in the candlelight. This was time out of Captain Johnson’s schedule. Every night Captain Johnson came with his tape to measure the day’s heading. He started at the west end of the tunnel, took a measurement, and came around the mountain to the eastern cut and took a measurement. He could have sent one of the bosses but he did it personally. Captain Johnson had a schedule of convergence, of a moment when the final blast would break the mountain in two. Each morning the bosses changed the wooden shingles on the sign outside the cut. It was how far they had come. John Henry told the boy to quiet his screaming. He was not the first he had maimed.

  He looked at his hands, the big dumb mules at the end of his arms. They did what they wanted. Palms like territories. It was stupid. Time it took the runner to get outside the tunnel, the time it took for help to arrive was lost time. John Henry bent over and lifted the boy from the ground and threw him over his shoulder, made a sack of him. He walked east, faster than going west ever was. They made ten feet a day with twelve-hour shifts. It was always faster getting out of the mountain than going in. He walked on the planks. The planks heaved up dust from beneath them with each step. He kicked a blasting cap out of his way and it skittered into a pile of dull bits the runners had left to the side. The hole they drilled that day was eight feet deep; probably the next morning the blasting crew would nestle the nitroglycerine inside it and blow it open to a few feet of heading. He told the boy to be still or else he’d drop him right there and the boy whimpered and was still. He asked the boy where he was from. The boy mentioned a town in Virginia, not far from the Reynolds plantation where John Henry had been born. Then the boy started screaming and John Henry let him. They were a quarter of a mile inside the mountain and John Henry could feel the mountain heave over him, breathing. He looked up and saw the one ugly crag that always taunted him from the ceiling of the tunnel whenever he passed. He remembered the day the blasting exposed the crag of rock and John Henry saw it for the first time, sneering at him, a spiteful beak of shale laughing at their little work, laughing at him. He worked under the crag for four days and each minute it cursed him. He was glad when they finally drove the heading past it and hoped that a charge would obliterate it. But when they reentered the tunnel after the smoke slowed and all the weakened stone from the roof of the tunnel had ceased falling, the crag was still there, angry and unforgiving, and John Henry damned it each time he walked by. The crag knew him.