Someone Comes to Town, Someone Leaves Town

Chapter 2

Chapter 23,865 wordsPublic domain

1. "Collective Work" means a work, such as a periodical issue, anthology or encyclopedia, in which the Work in its entirety in unmodified form, along with a number of other contributions, constituting separate and independent works in themselves, are assembled into a collective whole. A work that constitutes a Collective Work will not be considered a Derivative Work (as defined below) for the purposes of this License.

2. "Derivative Work" means a work based upon the Work or upon the Work and other pre-existing works, such as a translation, musical arrangement, dramatization, fictionalization, motion picture version, sound recording, art reproduction, abridgment, condensation, or any other form in which the Work may be recast, transformed, or adapted, except that a work that constitutes a Collective Work will not be considered a Derivative Work for the purpose of this License. For the avoidance of doubt, where the Work is a musical composition or sound recording, the synchronization of the Work in timed-relation with a moving image ("synching") will be considered a Derivative Work for the purpose of this License.

3. "Developing Nation" means any nation that is not classified as a "high-income enconomy" by the World Bank.

4. "Licensor" means the individual or entity that offers the Work under the terms of this License.

5. "Original Author" means the individual or entity who created the Work.

6. "Work" means the copyrightable work of authorship offered under the terms of this License.

7. "You" means an individual or entity exercising rights under this License who has not previously violated the terms of this License with respect to the Work, or who has received express permission from the Licensor to exercise rights under this License despite a previous violation.

2. Fair Use Rights. Nothing in this license is intended to reduce, limit, or restrict any rights arising from fair use, first sale or other limitations on the exclusive rights of the copyright owner under copyright law or other applicable laws.

3. License Grant. Subject to the terms and conditions of this License, Licensor hereby grants You a worldwide, royalty-free, non-exclusive, perpetual (for the duration of the applicable copyright or subject to Section 7(a)) license to exercise the rights in the Work, in any Developing Nation, solely within the geographic territory of one or more Developing Nations, as stated below:

1. to reproduce the Work, to incorporate the Work into one or more Collective Works, and to reproduce the Work as incorporated in the Collective Works;

2. to create and reproduce Derivative Works;

3. to distribute copies or phonorecords of, display publicly, perform publicly, and perform publicly by means of a digital audio transmission the Work including as incorporated in Collective Works;

4. to distribute copies or phonorecords of, display publicly, perform publicly, and perform publicly by means of a digital audio transmission Derivative Works;

5.

For the avoidance of doubt, where the work is a musical composition:

1. Performance Royalties Under Blanket Licenses. Licensor waives the exclusive right to collect, whether individually or via a performance rights society, royalties for the public performance or public digital performance (e.g. webcast) of the Work.

2. Mechanical Rights and Statutory Royalties. Licensor waives the exclusive right to collect, whether individually or via a music rights agency or designated agent, royalties for any phonorecord You create from the Work ("cover version") and distribute, subject to any compulsory license that may apply.

6. Webcasting Rights and Statutory Royalties. For the avoidance of doubt, where the Work is a sound recording, Licensor waives the exclusive right to collect, whether individually or via a performance-rights society, royalties for the public digital performance (e.g. webcast) of the Work, subject to any compulsory license that may apply.

The above rights may be exercised in all media and formats whether now known or hereafter devised. The above rights include the right to make such modifications as are technically necessary to exercise the rights in other media and formats. All rights not expressly granted by Licensor are hereby reserved, including but not limited to the rights and restrictions described in Section 4.

4. Restrictions. The license granted in Section 3 above is expressly made subject to and limited by the following restrictions:

1. You may distribute, publicly display, publicly perform, or publicly digitally perform the Work only under the terms of this License, and You must include a copy of, or the Uniform Resource Identifier for, this License with every copy or phonorecord of the Work You distribute, publicly display, publicly perform, or publicly digitally perform. You may not offer or impose any terms on the Work that alter or restrict the terms of this License or the recipients' exercise of the rights granted hereunder. You may not sublicense the Work. You must keep intact all notices that refer to this License and to the disclaimer of warranties. You may not distribute, publicly display, publicly perform, or publicly digitally perform the Work with any technological measures that control access or use of the Work in a manner inconsistent with the terms of this License Agreement. The above applies to the Work as incorporated in a Collective Work, but this does not require the Collective Work apart from the Work itself to be made subject to the terms of this License. If You create a Collective Work, upon notice from any Licensor You must, to the extent practicable, remove from the Collective Work any reference to such Licensor or the Original Author, as requested. If You create a Derivative Work, upon notice from any Licensor You must, to the extent practicable, remove from the Derivative Work any reference to such Licensor or the Original Author, as requested.

2. If you distribute, publicly display, publicly perform, or publicly digitally perform the Work or any Derivative Works or Collective Works, You must keep intact all copyright notices for the Work and give the Original Author credit reasonable to the medium or means You are utilizing by conveying the name (or pseudonym if applicable) of the Original Author if supplied; the title of the Work if supplied; to the extent reasonably practicable, the Uniform Resource Identifier, if any, that Licensor specifies to be associated with the Work, unless such URI does not refer to the copyright notice or licensing information for the Work; and, in the case of a Derivative Work, a credit identifying the use of the Work in the Derivative Work (e.g., "French translation of the Work by Original Author," or "Screenplay based on original Work by Original Author"). Such credit may be implemented in any reasonable manner; provided, however, that in the case of a Derivative Work or Collective Work, at a minimum such credit will appear where any other comparable authorship credit appears and in a manner at least as prominent as such other comparable authorship credit.

3. The Work and any Derivative Works and Collective Works may only be exported to other Developing Nations, but may not be exported to countries classified as "high income" by the World Bank.

4. This License does not authorize making the Work, any Derivative Works or any Collective Works publicly available on the Internet unless reasonable measures are undertaken to verify that the recipient is located in a Developing Nation, such as by requiring recipients to provide name and postal mailing address, or by limiting the distribution of the Work to Internet IP addresses within a Developing Nation.

5. Representations, Warranties and Disclaimer

UNLESS OTHERWISE MUTUALLY AGREED TO BY THE PARTIES IN WRITING, LICENSOR OFFERS THE WORK AS-IS AND MAKES NO REPRESENTATIONS OR WARRANTIES OF ANY KIND CONCERNING THE WORK, EXPRESS, IMPLIED, STATUTORY OR OTHERWISE, INCLUDING, WITHOUT LIMITATION, WARRANTIES OF TITLE, MERCHANTIBILITY, FITNESS FOR A PARTICULAR PURPOSE, NONINFRINGEMENT, OR THE ABSENCE OF LATENT OR OTHER DEFECTS, ACCURACY, OR THE PRESENCE OF ABSENCE OF ERRORS, WHETHER OR NOT DISCOVERABLE. SOME JURISDICTIONS DO NOT ALLOW THE EXCLUSION OF IMPLIED WARRANTIES, SO SUCH EXCLUSION MAY NOT APPLY TO YOU.

6. Limitation on Liability. EXCEPT TO THE EXTENT REQUIRED BY APPLICABLE LAW, IN NO EVENT WILL LICENSOR BE LIABLE TO YOU ON ANY LEGAL THEORY FOR ANY SPECIAL, INCIDENTAL, CONSEQUENTIAL, PUNITIVE OR EXEMPLARY DAMAGES ARISING OUT OF THIS LICENSE OR THE USE OF THE WORK, EVEN IF LICENSOR HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.

7. Termination

1. This License and the rights granted hereunder will terminate automatically upon (i) any breach by You of the terms of this License or (ii) if any Developing Nation in which the Work is used, exported or distributed ceases at any time to qualify as a Developing Nation, in which case this License will automatically terminate with respect to such country five (5) years after the date of such re-classification; provided that You will not be liable for copyright infringement unless and until You continue to exercise such rights after You have actual knowledge of the termination of this License for such country. Individuals or entities who have received Derivative Works or Collective Works from You under this License, however, will not have their licenses terminated provided such individuals or entities remain in full compliance with those licenses. Sections 1, 2, 5, 6, 7, and 8 will survive any termination of this License.

2. Subject to the above terms and conditions, the license granted here is perpetual (for the duration of the applicable copyright in the Work). Notwithstanding the above, Licensor reserves the right to release the Work under different license terms or to stop distributing the Work at any time; provided, however that any such election will not serve to withdraw this License (or any other license that has been, or is required to be, granted under the terms of this License), and this License will continue in full force and effect unless terminated as stated above.

8. Miscellaneous

1. Each time You distribute or publicly digitally perform the Work or a Collective Work, the Licensor offers to the recipient a license to the Work on the same terms and conditions as the license granted to You under this License.

2. Each time You distribute or publicly digitally perform a Derivative Work, Licensor offers to the recipient a license to the original Work on the same terms and conditions as the license granted to You under this License.

3. If any provision of this License is invalid or unenforceable under applicable law, it shall not affect the validity or enforceability of the remainder of the terms of this License, and without further action by the parties to this agreement, such provision shall be reformed to the minimum extent necessary to make such provision valid and enforceable.

4. No term or provision of this License shall be deemed waived and no breach consented to unless such waiver or consent shall be in writing and signed by the party to be charged with such waiver or consent.

5. This License constitutes the entire agreement between the parties with respect to the Work licensed here. There are no understandings, agreements or representations with respect to the Work not specified here. Licensor shall not be bound by any additional provisions that may appear in any communication from You. This License may not be modified without the mutual written agreement of the Licensor and You.

===== Blurb =====

SOMEONE COMES TO TOWN, SOMEONE LEAVES TOWN is a glorious book, but there are hundreds of those. It is more. It is a glorious book unlike any book you've ever read.

- Gene Wolfe

========== Dedication ==========

For the family I was born into and the family I chose. I got lucky both times.

========= The novel =========

Alan sanded the house on Wales Avenue. It took six months, and the whole time it was the smell of the sawdust, ancient and sweet, and the reek of chemical stripper and the damp smell of rusting steel wool.

Alan took possession of the house on January 1, and paid for it in full by means of an e-gold transfer. He had to do a fair bit of hand-holding with the realtor to get her set up and running on e-gold, but he loved to do that sort of thing, loved to sit at the elbow of a novitiate and guide her through the clicks and taps and forms. He loved to break off for impromptu lectures on the underlying principles of the transaction, and so he treated the poor realtor lady to a dozen addresses on the nature of international currency markets, the value of precious metal as a kind of financial lingua franca to which any currency could be converted, the poetry of vault shelves in a hundred banks around the world piled with the heaviest of metals, glinting dully in the fluorescent tube lighting, tended by gnomish bankers who spoke a hundred languages but communicated with one another by means of this universal tongue of weights and measures and purity.

The clerks who'd tended Alan's many stores -- the used clothing store in the Beaches, the used book-store in the Annex, the collectible tin-toy store in Yorkville, the antique shop on Queen Street -- had both benefited from and had their patience tried by Alan's discursive nature. Alan had pretended never to notice the surreptitious rolling of eyes and twirling fingers aimed templewise among his employees when he got himself warmed up to a good oration, but in truth very little ever escaped his attention. His customers loved his little talks, loved the way he could wax rhapsodic about the tortured prose in a Victorian potboiler, the nearly erotic curve of a beat-up old table leg, the voluminous cuffs of an embroidered silk smoking jacket. The clerks who listened to Alan's lectures went on to open their own stores all about town, and by and large, they did very well.

He'd put the word out when he bought the house on Wales Avenue to all his protégés: Wooden bookcases! His cell-phone rang every day, bringing news of another wooden bookcase found at this flea market, that thrift store, this rummage sale or estate auction.

He had a man he used part-time, Tony, who ran a small man-with-van service, and when the phone rang, he'd send Tony over to his protégé's shop with his big panel van to pick up the case and deliver it to the cellar of the house on Wales Avenue, which was ramified by cold storages, root cellars, disused coal chutes and storm cellars. By the time Alan had finished with his sanding, every nook and cranny of the cellar was packed with wooden bookcases of every size and description and repair.

Alan worked through the long Toronto winter at his sanding. The house had been gutted by the previous owners, who'd had big plans for the building but had been tempted away by a job in Boston. They'd had to sell fast, and no amount of realtor magic -- flowers on the dining-room table, soup simmering on the stove -- could charm away the essential dagginess of the gutted house, the exposed timbers with sagging wires and conduit, the runnels gouged in the floor by careless draggers of furniture. Alan got it for a song, and was delighted by his fortune.

He was drunk on the wood, of course, and would have paid much more had the realtor noticed this, but Alan had spent his whole life drunk on trivial things from others' lives that no one else noticed and he'd developed the alcoholic's knack of disguising his intoxication. Alan went to work as soon as the realtor staggered off, reeling with a New Year's Day hangover. He pulled his pickup truck onto the frozen lawn, unlocked the Kryptonite bike lock he used to secure the camper bed, and dragged out his big belt sander and his many boxes of sandpaper of all grains and sizes, his heat strippers and his jugs of caustic chemical peeler. He still had his jumbled, messy place across town in a nondescript two-bedroom on the Danforth, would keep on paying the rent there until his big sanding project was done and the house on Wales Avenue was fit for habitation.

Alan's sanding project: First, finish gutting the house. Get rid of the substandard wiring, the ancient, lead-leaching plumbing, the cracked tile and water-warped crumbling plaster. He filled a half-dozen dumpsters, working with Tony and Tony's homie Nat, who was happy to help out in exchange for cash on the barrelhead, provided that he wasn't required to report for work on two consecutive days, since he'd need one day to recover from the heroic drinking he'd do immediately after Alan laid the cash across his palm.

Once the house was gutted to brick and timber and delirious wood, the plumbers and the electricians came in and laid down their straight shining ducts and pipes and conduit.

Alan tarped the floors and brought in the heavy sandblaster and stripped the age and soot and gunge off of the brickwork throughout, until it glowed red as a golem's ass.

Alan's father, the mountain, had many golems that called him home. They lived round the other side of his father and left Alan and his brothers alone, because even a golem has the sense not to piss off a mountain, especially one it lives in.

Then Alan tackled the timbers, reaching over his head with palm-sanders and sandpaper of ever finer grains until the timbers were as smooth as Adirondack chairs, his chest and arms and shoulders athrob with the agony of two weeks' work. Then it was the floorwork, but *not the floors themselves*, which he was saving for last on the grounds that they were low-hanging fruit.

This materialized a new lecture in his mind, one about the proper role of low-hanging fruit, a favorite topic of MBAs who'd patronize his stores and his person, giving him unsolicited advice on the care and feeding of his shops based on the kind of useless book-learning and jargon-slinging that Fortune 100 companies apparently paid big bucks for. When an MBA said "low-hanging fruit," he meant "easy pickings," something that could and should be snatched with minimal effort. But *real* low-hanging fruit ripens last, and should be therefore picked as late as possible. Further, picking the low-hanging fruit first meant that you'd have to carry your bushel basket higher and higher as the day wore on, which was plainly stupid. Low-hanging fruit was meant to be picked last. It was one of the ways that he understood people, and one of the kinds of people that he'd come to understand. That was the game, after all -- understanding people.

So the floors would come last, after the molding, after the stairs, after the railings and the paneling. The railings, in particular, were horrible bastards to get clean, covered in ten or thirty coats of enamel of varying colors and toxicity. Alan spent days working with a wire brush and pointed twists of steel wool and oozing stinging paint stripper, until the grain was as spotless and unmarked as the day it came off the lathe.

*Then* he did the floors, using the big rotary sander first. It had been years since he'd last swung a sander around -- it had been when he opened the tin-toy shop in Yorkville and he'd rented one while he was prepping the place. The technique came back to him quickly enough, and he fell into a steady rhythm that soon had all the floors cool and dry and soft with naked, exposed woody heartmeat. He swept the place out and locked up and returned home.

The next day, he stopped at the Portuguese contractor-supply on Ossington that he liked. They opened at five a.m., and the men behind the counter were always happy to sketch out alternative solutions to his amateur construction problems, they never mocked him for his incompetence, and always threw in a ten percent "contractor's discount" for him that made him swell up with irrational pride that confused him. Why should the son of a mountain need affirmation from runty Portugees with pencil stubs behind their ears and scarred fingers? He picked up a pair of foam-rubber knee pads and a ten-kilo box of lint-free shop rags and another carton of disposable paper masks.

He drove to the house on Wales Avenue, parked on the lawn, which was now starting to thaw and show deep muddy ruts from his tires. He spent the next twelve hours crawling around on his knees, lugging a tool bucket filled with sandpaper and steel wool and putty and wood-crayons and shop rags. He ran his fingertips over every inch of floor and molding and paneling, feeling the talc softness of the sifted sawdust, feeling for rough spots and gouges, smoothing them out with his tools. He tried puttying over the gouges in the flooring that he'd seen the day he took possession, but the putty seemed like a lie to him, less honest than the gouged-out boards were, and so he scooped the putty out and sanded the grooves until they were as smooth as the wood around them.

Next came the beeswax, sweet and shiny. It almost broke his heart to apply it, because the soft, newly exposed wood was so deliciously tender and sensuous. But he knew that wood left to its own would eventually chip and splinter and yellow. So he rubbed wax until his elbows ached, *massaged* the wax into the wood, buffed it with shop rags so that the house shone.

Twenty coats of urethane took forty days -- a day to coat and a day to dry. More buffing and the house took on a high shine, a slippery slickness. He nearly broke his neck on the slippery staircase treads, and the Portuguese helped him out with a bag of clear grit made from ground walnut shells. He used a foam brush to put one more coat of urethane on each tread of the stairs, then sprinkled granulated walnut shells on while it was still sticky. He committed a rare error in judgment and did the stairs from the bottom up and trapped himself on the third floor, with its attic ceilings and dormer windows, and felt like a goddamned idiot as he curled up to sleep on the cold, hard, slippery, smooth floor while he waited for his stairs to dry. The urethane must be getting to his head.

The bookcases came out of the cellar one by one. Alan wrestled them onto the front porch with Tony's help and sanded them clean, then turned them over to Tony for urethane and dooring.

The doors were UV-filtering glass, hinged at the top and surrounded by felt on their inside lips so that they closed softly. Each one had a small brass prop-rod on the left side that could brace it open. Tony had been responsible for measuring each bookcase after he retrieved it from Alan's protégés' shops and for sending the measurements off to a glazier in Mississauga.

The glazier was technically retired, but he'd built every display case that had ever sat inside any of Alan's shops and was happy to make use of the small workshop that his daughter and son-in-law had installed in his garage when they retired him to the burbs.