I can remember the exact moment the
idea popped into my head. It was right when I was trying to finish another story that was resisting easy closure. Two years
later, I can see that the few strands of the radio story—what Robert Lopresti
wisely calls a “magical shop” story—were inspired by two different things.
The first is a famous John Cheever
story called “The Enormous Radio.” It first ran in the New Yorker in 1947, but I first came upon it in 1981,
when a paperback collection of the writer’s work (The Stories of John Cheever) was published and
became a huge hit with people like me who’d never heard of Cheever. I bought my
copy off a mass paperback stand at K-mart.
You owe it to yourself to check out
the story. Current subscribers can read it at the New Yorker website, but for some reason you can also
find the entire text online. In the piece, a New York couple discovers that
their brand-new radio picks up conversations of people living in their
apartment building. And so ensues the kind of sordid middle-class drama that
Cheever was famous for. I don’t want to say more because it’s not my place to
do so. It’s bad enough I swiped Cheever’s premise; I’m not going to give his
ending away.
Back to our cop and his magic radio. I was probably a few hundred words into
my story when I realized my biggest plot challenge: I needed to come with as
many different audio clues as
possible for our detective to grapple with. As I quickly figured out, it’s
tricky to do that. For example, the most obvious clue is having a victim
mention the name of his or her murderer. You can only trot that one out once.
Here, two classic movies were
instructive, if only to remind me just how slight audio evidence can be. In the
1974 Coppola film The Conversation, everything hinges
on the various shades of meaning of a recorded chat between two people. We know
exactly what the two people say, but the meaning is unclear because we aren’t
privy to the subtleties of context. In DePalma’s 1981 Blow Out, the critical
sound of a car tire blowing out isn’t fraught with meaning until our hero finds
audio of the sound that immediately precedes it.
In my story, I dispensed with the
long-hanging fruit first, then worked my way up the ladder of audio complexity.
The detective’s greatest triumph comes when he identifies a murderer based on
the killer’s strange tic.
And now, since I’ve annoyingly
danced around the plots of three, no, four creative works, I should probably be
more forthright about the origins of the second big element in this story: the
so-called magical shop itself.
Weirdly, I have always been a sucker
for such shops, ever since I was a kid. For few years in my youth my father
rented an office space above an Italian deli in the New Jersey town where I
grew up. The office building was strangely trapezoidal, which meant that one
window in my Dad’s studio jutted out like the bow of a ship, overlooking the
main drag of my hometown.
My
hometown’s business district, as depicted in an old postcard, long before I
arrived on the scene. (The Blue Onion not pictured.)
|
I used to like sitting in that
window and drawing pictures of the impossible cute gift shop across the street.
If I’m not mistaken, it was called The Blue Onion, and its blue-painted,
shingle roof and gable were anomalies in an otherwise boring Jersey town filled
with pizza joints, strip malls, sanitized stucco buildings, and yes, that Kmart
I mentioned earlier. I must have sketched dozens of versions of the Blue Onion,
in all seasons, but its Christmas appearance—two front windows decked out with
twinkling lights and faux snow—was probably my favorite.
In the 1990s, I lived in Hoboken,
New Jersey, and took the train across the Hudson to New York City each morning
to go to work. From the PATH station to my job at Scholastic, I walked past a
charming shop on Bedford Street. It was the sort of place that sold antiques
and “vintage” objects side-by-side with beautiful new objects carefully curated
by the proprietor. I never went in, but I imagine that everything in it was
ridiculously expensive.
(credit: Denise Kiernan)
|
Later, when I went freelance, I conned
my way into writing a twice-monthly “destinations” column for the now long-gone
New Jersey section of the New York Times. All I did for
these pieces was chase down places in the state that trafficked in, as my gruff
editor once put it, “quaint shit.” I know it’s got a gritty reputation, but
Jersey has lot more of these sorts of places than Tony Soprano would like to
admit.
I now live in a town in North
Carolina that has quaintness in spades—shops and entire barns devoted to relics from another time. Emporia like
these always seem to promise a hell of a lot more than they deliver. But
foolishly, if I have a few minutes, I still go peek inside them. I don’t know
why. I can’t afford anything in them half the time, but still I browse. I
suppose, like my detective, I go looking for the magic.
josephdagnese.com