points toward the bulge, and Maura folds her hands across it.
âThere was no time to look for Conâs body,â he says. âWe believe he got stuck in a second blowout. Thatâs all we can say. Will a hundred dollars suffice?â
Randall coughs and makes curlicues at the ends of his tawny mustache.
âThe body might emerge; then we can pay for the funeral too. Weâll pay for the funeral anyway. Are you going to have a funeral? Maâam? Mrs. OâLeary? I believe in looking after my workers.â
âYou do?â
âAlways looked after my workers.â
âYou can leave now, please.â
âThereâs always hope.â
âI appreciate your faith, but you can leave.â
His Adamâs apple bobs up and down. Randall mops his brow with a handkerchief. Beads of sweat reappear immediately.
âI said you can leave.â
âMaâam?â
âLeave.â
âIf thatâs how you want it, maâam.â
Maura OâLeary watches Conâs shirtsleeves flapping in the window, greeting the snow. She runs her finger around the rim of an empty teacup, curses herself for offering Randall some tea. She says nothing more, just goes to the front door and gently pulls it open for him. She stands behind the frame. The neighbors step back and let the man pass, watching him as he lumbers down the stairs, a roll of fat wobbling at the back of his neck. The women file back into Mauraâs room, half a dozen accents merging into one. The sound of a car outside drowns out the muffled clip-clop of a horseâs hooves. Children are playing baseball with hurley sticks. At the window, Maura watches the children step out of the path of Randallâs motorcar, some of the boys reaching out to touch its waxed body. Maura pulls across the lace curtain and turns away.
The neighbors clasp their hands and hang their heads, too polite to ask what happened. Maura stands with themânobody wants the chairâand combs a long strand of hair away from her eye. She tells her neighbors that her husband has already become a fossil and some of them wonder what the word means, but they nod their heads anyway and let it hang on the edge of their lips: fossil.
*Â Â Â *Â Â Â *
Nathan Walker repeats the word after making a brief visit to Mauraâs apartment, having left an envelope full of money on the kitchen table after passing the hat among the sandhogs.
He walks the bright winter streets toward the ferry and wipes at his eyes with an overcoat sleeve, recalling one evening last winter after work. He was coming out early from the hog-house showers and was set upon by four drunken welders. They used the handles of pickaxes as weapons. The blows rained down on the top of his skull, and he fell. One of the welders leaned over and whispered the word âniggerâ in his ear, as if he had just invented it. âHey, nigger.â Walker looked up and smashed the manâs teeth with the heel of an open palm. The pickax handles hit him again, the wood slipping on his bloody face. And then came a shoutââJaysus Christ!ââand he recognized the voice. Con OâLeary, out from the shower, stood only in his boots and trousers. The Irishman looked flabby and gigantic in the sunlight. He began swinging with his fists. Two of the welders fell, and then police whistles were heard in the distance. The welders stumbled off, scattering in the dark streets. OâLeary knelt down on the ground and held Walkerâs head against his white chest. âYouâll be all right, son,â he said.
A patch of blood spread beneath the Irishmanâs nipple. He picked up Walkerâs hat from the ground. It was full of blood.
âLooks to me like a bowl of tomato soup,â said OâLeary.
The two men tried to laugh. OâLeary had said the word âtomatoâ as if there were a sigh in the middle of it. For weeks afterward Walker would