By Ed Staskus

   When I got out of high school finding a job was easy as pie, as long as it was the most thankless job known to man, work like grit blasting, jackhammering, and tearing off roofs. None of it was a bowl of cherries, not that anybody ever said it was going to be. It was more like a crown of thorns with the only salvation at the end of the day being the end of the day.

   The good thing about grit blasting was that the work was indoors, in an all-metal room, out of the sun and rain. The bad thing about it was being in an all-metal room, in a haze of abrasive dust, hoping the blast hose wouldn’t bust a gut. The work room measured twenty feet wide by fifty feet long by fifteen feet tall. It was all business, no windows, no distractions, and no escape.

   The metal finishing shop was in Brook Park near Cleveland Hopkins Airport. Starting time was 7:30 AM, no ifs ands or buts. God forbid I miss my bus. They did shot-peening, deburring, and metal polishing. Other than the occasional odd job, I only did one thing. I blasted an assortment of metal dinguses, most of them incomprehensible to me, with steel grit or crushed glass. Sometimes, if the object was small, I worked at a sandblasting cabinet. It had a foot operated control valve.

   I wore a heavy canvas long-sleeved blast suit, gloves with gauntlets, and steel-toed safety boots. When I was ready, the last thing I put on was an air-fed metal helmet with a shawl protector. My boss was adamant that I go slow, never stopping at one spot with my blaster, keeping the same pace, which was a crawl. I had no problem with that since I could barely move in my protective suit.

   The shop was noisy, dusty, and dingy from front to back, although when we got finished with whatever thing we had been working on it looked brand new. After three months, though, I felt beat up. I was down for the count and quit in the middle of my shift. I took a bus to Edgewater Park, stripped off my shirt, and lay on the sand in the sun the rest of the day. My fish belly got some good color.

   I didn’t think my next job, jackhammering, could be worse than grit blasting. I was wrong. It was worse. It was like hanging on to a prehistoric woodpecker. The pneumatic t-shaped tool weighed a hundred pounds and was very loud. When it got revved up it sounded louder than a jet engine. I was given Willson earmuffs to save my hearing. I didn’t wear them my first five minutes on the job. After the first five minutes I never took them off.

   Charles King, a pioneering engineer in the Gilded Age, produced the first air-powered jackhammer for the mining industry. Miners had labored for ages breaking rocks with sledgehammers. The jackhammer was a groundbreaking invention for them. They are percussive tools. They pound rock and concrete with thousands of hits a minute. Once we had  broken a slab of concrete into small pieces it was time to move on to the next slab. For basic breaking I used a basic point bit. The old hands, who were built like fire hydrants,  used a flat bit for better control.

   We sprayed the concrete with water to keep the dust down. We wore face masks. Since shrapnel wasn’t an unusual hazard, I wore heavy-duty pants and a long-sleeved shirt. I still had my steel-toed boots from my grit blasting days. There was no steep learning curve. Even though I was young and fit, I took breaks all the time. The shock waves were too much to stand. Whole-body vibration is fun and games for only so long. At times I wished for an earthquake to do the work for me.

   The old hands knew the score but still complained about fatigue, headaches, and lower back pain. They sometimes took five to lay down flat on their backs on whatever ground was nearby. It was hard work controlling the heavy tool. We rotated on and off. Everybody said jackhammers were better than sledgehammers in the hot sun, but it struck me as making a fine distinction to no purpose. I didn’t last long. I was neither strong nor sizable enough for the work. After my last day I went home to my apartment and slept for a day-and-a half. My lumpy mattress felt like a bed of roses. 

   It was still summer, so I signed on with a roofing company. There was even less of a learning curve. I was dragooned to be one of the guys who tore roofs off. It sounded easy enough but it was hard to do. I didn’t know it was the most physically demanding specialty trade work of all time. I didn’t know it was the fourth most dangerous job in the country, either.

   “It’s hard work and it can be a risk,” the boss said. “You need to be proud of what you do. It’s good stuff.”

   The other guys ignored the boss. They said don’t climb ladders with your hands in your pockets. I showed them my open palms. “Don’t slide down ladders,” one of the men said showing me his hands. “It might have splinters.” They said don’t slip when topside. I said I would watch out for that. They said don’t touch wires and get electrocuted. I agreed to watch out for that, too. They claimed the company was a storm chaser, even though we never worked during storms. I found out what it meant soon enough. Our warranty was in effect so long as the homeowner could see our truck’s license plate as we were driving away. 

   If it was ninety degrees on the street, it was nine hundred degrees on the roof. If it was a dark-colored or metal roof, it was even hotter. I got a sunburned face my first day. I wore sunscreen and a baseball cap as a matter of course after that. I got heat rash and learned to never wear jeans or dark-colored clothing. I got heat cramps and learned to drink gallons of water. 

   There were two of us at the bottom of the totem pole. We were responsible for cleaning up. The rolling magnetic sweeper was my favorite tool. Sweeping for loose nails and screws was incredibly easy and meant the end of the job was at hand. The pay was good, but I didn’t like going up and down ladders. Once I got on the roof, I settled down, but ladders made me jumpy. I finally had enough of them and called in sick. I stayed sick until the office manager stopped calling me.

   Summer started to drift away after Labor Day. I applied for work at the nearby Collinwood Rail Yards and was hired as a temporary workhand for as long as they needed me. The railroad yard and diesel terminal had been there for about one hundred years, after a machine shop and roundhouse were originally built to repair locomotives. Miles of stock yard rail was laid for freight trains coming and going. By 1930 there one hundred and twenty miles of track handling two thousand cars daily. During World War Two the Collinwood Yards became one of the major switching and repair facilities for the New York Central, and after that for Penn Central.

   My job title was Extra Clerk. I thought it meant a cushy office job. What it actually meant was I had to work wherever they wanted me to, filling in when somebody was sick or on vacation. I found out soon enough that nobody in any office ever got sick or went on vacation.

   A warehouse had been built near the roundhouse. There was a smaller storehouse with two offices next to it. The front office was for whoever wanted to sit around in it. The back office was for my boss. I worked for him even when I was working for somebody else. He was Isaiah Wood, an older man who always wore an Irish scally cap indoors and outdoors, rain or shine. He wasn’t Irish. He was a rabble rouser for the Nation of Islam. He always had stacks of their newspaper “Muhammed Speaks” on the floor behind his desk. When it became “Bilalian News” he piled up stacks of those.

   He sold them to African Americans who worked in the yard. They trooped in, plunked down their dough, and walked out with the newspaper in a coat pocket. Nobody who was white ever trooped in and plunked down anything. Isaiah Wood was disliked by every white man in the Collinwood Yards, especially when I let out who I worked for. They all told me what a dismal dead-end I was stuck in.

   He had a poster on the wall of the Nation of Islam kingpin Elijah Muhammed wearing sunglasses and a funny hat with stars and crescent moons emblazoned on it. The poster quoted the kingpin. “If you think the white man isn’t the devil like I have taught you, then bring me your devil and I will show you that the white man has no equal.” Whenever I had to go into his office the poster was right behind him so it was right in my face.

   He liked to say things like, “Whenever you look at a black man you are looking at God.” Then he would tell Wally and me that there were two or three gondolas with rail wheels on them that needed unloading. He tried to make it sound like orders from the mouth of God, speaking low and slow. We trudged out to the gondolas low and slow.

   Wally was Ozor Benko. Nobody ever called him Ozor or even Ozzie. Everybody called him Wally. He was shorter and older than Isaiah. He had been married for almost fifty years. His wife put together his lunch pail of sandwiches, apples, and grapes. The sandwiches were always Hungarian since he and his wife were Hungarian. He especially liked black bread smeared with cream cheese and topped with plum jam.

   Wally and I worked together. Every morning at 7 AM we collected wood from broken pallets and built a bonfire. Some winter days the fire was as big as Isaiah’s hatred of the white man. We stood around it once it got roaring and warmed ourselves up. Anybody passing by was welcome to take a spot. Whenever we had to unload a gondola in bad weather, we made sure to have a 55-gallon steel drum nearby with a fire going in it. We thawed our hands and dried our gloves over the fire.

   When we were unloading rail wheels the two of us stood in the gondola with a crane on a flat car at hand. The crane operator swung his block to us, one of us wrote a number on the wheel with a thick yellow crayon, while the other one attached a sling to the wheel. The crane lifted it, setting it down in a row of them, and swung back to us. It wasn’t hard work, except when it was cold, snowy, and slippery. There wasn’t as much snow that winter as there would be a few years later during the Great Blizzard, but it was cold enough.

   Wally started taking days off when his wife got sick. I didn’t mind because another Extra Clerk like me, who was about my age, filled in. One week Wally didn’t come to work at all. At the end of the next week Isaiah told me Wally’s wife had died and he would be taking a few weeks off. When he came back, he looked terrible. He started going to one of the bars just outside the yard for lunch, eating pickled eggs, fried baloney sandwiches, and swigging bottles of P.O.C. 

   Even still, he lost weight, getting thinner. His clothes hung loose on him. His skin got gray and cadaverous. He died two months later. He missed his wife so much he didn’t want to go on living. He had a heart attack and died on his sofa watching “Sanford and Son” on a portable TV. We thought he died of a broken heart. Isaiah didn’t say much, although he went to Wally’s funeral. I went with him. We each had a P. O. C. afterwards.

   When spring came, I was assigned to be a tracker in the switching yard. I was given a clipboard and a pocketful of pencils. My job was walking the line. Boxcars, flat cars, and gondolas were busted up a cut and sorted by railway company, loaded or unloaded, destination, car type, and whether they needed repairs. The black snakes hauling coal, unloading across the street, weren’t on my beat. I walked miles a day every day, noting and writing it all down and delivering the paperwork to an office in the shadow of the terminal.

   I discovered small beat-up shacks tucked into shadows where workmen hung out, making hay, killing time, reading the daily papers, listening to the radio, playing cards, and drinking. A lot of drinking went on in the yard and at the bars on East 152^nd St. just outside the main entry gate. Even more drinking happened on payday, when many men cashed their checks at the bars and drank part of it before their wives could get their hands on what was left.

   By the end of summer, I was out of a job. Conrail was taking over, cutting costs, and laying workers off. First hired first fired. When the 1970s came to an end Conrail closed the diesel locomotive repair facilities and sold off most of the rail yard. By that time, I didn’t care. I had squirreled away the hard cash I had made and gone back to college so I could make my way. My father was a fan of higher education.

   He had been a miner in Sudbury, Ontario in the 1950s until he finally saw the light. When he did we emigrated to the United States where he worked days and studied nights at Western Reserve University, graduating with a degree in accounting. He was determined to work with his head and not his hands.

   Everybody said I had my father’s looks, but we didn’t always look at things the same way. He had a bad habit of threatening me with the ways of the world, with all the terrible things that were out there. He was from the Old World and had survived World War Two, on the wrong end of the stick for most of it. Even though he and I didn’t routinely see eye to eye, after a year of punching the working stiff’s time clock, I began thinking he might be on to something about working with your head. I wasn’t big on accepted wisdom, but I thought maybe it was time to put my thinking cap on.

Ed Staskus posts monthly on 147 Stanley Street http://www.147stanleystreet.com, Made in Cleveland http://www.clevelandohiodaybook.com, Atlantic Canada http://www.redroadpei.com, and Lithuanian Journal http://www.lithuanianjournal.com. 

“Cross Walk” by Ed Staskus

“A once upon a crime whodunit.” Barron Cannon, Adventure Books

“Captures the vibe of 1950s NYC.” Sam Winchell, Beyond Fiction

Available at Amazon

Apple Books 
http://books.apple.com/us/book/id6502837788

Late summer and early autumn. New York City. A Hell’s Kitchen private eye. The 1956 World Series. President Eisenhower at the opening game. An assassin in the dugout.

A Crying of Lot 49 Publication

By Ed Staskus

   By 1984 many bands had strutted their stuff at the Richfield Coliseum. It was built for basketball and anything else that could be booked between games. Everybody called the venue the Palace on the Prairie. It was in Richfield, Ohio. The bands included Led Zeppelin in 1975, Bruce Springsteen and the E-Street Band in 1978, the Rolling Stones in 1981, and Queen in 1982. The Bee Gees drove girls to screaming, crying, and pleading in 1979.

   Frank Sinatra opened the place with a show in October 1974. “The crisscross of lights, mirroring the animation of 21,000 stylish people packed from floor to roof, transformed the gray amphitheater in the hills of Richfield Township into a huge first-night bouquet of green and blue,” is how The Cleveland Plain Dealer splashed Old Blue Eye’s show across its front page. We called him Slacksey because, no matter what, his slacks were always neatly pressed. Roger Daltrey gone solo closed the doors and shut off the lights for good in 1994. His show drew fewer than 5,000 fans. Nobody wrote a word about it or how he was dressed. Over the years there were might have been a thousand musical events at the Richfield Coliseum. 

   Vann Halen opened for Black Sabbath in 1978 and came back as headliners in 1984. When they did, they had to sit on their hands waiting for ice to melt. Walt Disney’s Magic Kingdom on Ice had just skated out of the building. When Van Halen came to town it was the one and only time I saw the band and the one and only time I went to a show at the Richfield Coliseum. 

   It wasn’t that I didn’t go to rock ‘n roll shows. It was that the few I went to were closer to home, like at the Allen Theater, the Agora, and Engineer’s Hall, where it was standing room only. There were no seats. Downtown was nearby but Richfield was a long way for my long-suffering car. Besides, I was by necessity a Scrooge. Big shows charged big bucks. First things came first, like food and shelter. 

   I saw the Doors at the Allen Theater in 1970, the Clash at the Agora in 1979, and the Dead Kennedys at Engineer’s Hall in 1983. The Dead Kennedys blew into town during a heat wave. The air conditioning at the Engineer’s Hall was non-existent and there were no windows. Everybody sweated up a storm and everybody stayed through the encore. Six years later the Brotherhood of Locomotive Engineers sold their building. It was demolished and replaced by a posh hotel. The Dead Kennedys never came back.

   The Doors opened their sold-out Friday night show in 1970 with ‘Roadhouse Blues’ followed by ‘Break on Through’ and ‘Backdoor Man’. They covered Bo Diddley’s ‘Who Do You Love?’ That was a surprise. “I walk 47 miles of barbed wire, I use a cobra snake for a necktie, I got a brand new house on the roadside, made from rattlesnake hide.” They sounded much better live than on carefully managed vinyl. They were more than worth the six dollars for my orchestra seat ticket. My girlfriend paid her own way. We had an even-steven relationship. Eli Radish, a local band, opened, and were funky and fun, but all through their set everybody was antsy waiting for Jim Morrison.

   “He worked the crowd with his staring sneers and sexy leather posing, witch doctor mumbling and slouching about,” said Jim Brite, who was in the crowd. “The lighting and sound were dramatic. The band was great, with extended solos and workmanlike professionalism, delivering the music behind the shaman. No one could take their eyes off Jim. It was one of the best concerts I ever saw and I’ll never forget it.”

   The Doors were banned in Miami for Jim Morrison’s obscene language and lewd behavior. He told the city fathers to call him the Lizard King. They had been banned from performing in Cincinnati and Dayton the year before. None of it mattered to the 3,000 of us filling every seat at the Allen Theater.

   “Jim Morrison swigged beer and smiled a lot between numbers,” Dick Wooten wrote in The Cleveland Press the nest day. “When he performs, he closes his eyes, cups his hand over his right ear, and clutches the mike. His voice is pleasant, but his style also involves shouts and screams that hammer your nervous system.”

   When it was over we whistled, roared, and clapped until the house lights came on. We were disappointed there was no encore. Everybody was getting to their feet when Jim Morrison suddenly came back on stage. “Somebody stole my leather jacket, he bellowed. “Thanks a lot Cleveland!” He flipped us the finger. Then he said, “Nobody leaves until I get it back!” Nobody knew what to do. A half-dozen rough-looking bikers jogged to the back of the hall and blocked the doors. When my girlfriend and I looked to the side for another way out, Jim Morrison had left the stage, but then a minute later came back.

   “Sorry, that was a mistake. I found my jacket.” 

   He said the band wanted to play some more songs to make up for the mistake, but that John Densmore’s hands were messed up. He was the group’s drummer. The beat couldn’t go on without a beat, except it could and did.

   “John their drummer was walking around backstage and holding up his hands which seemed bloody in the creases of his fingers,” said Skip Heil, the drummer for Eli Radish. “I felt all warmed up since we played before them, so I said I’ll do it. I wasn’t sure of the songs, but I thought they were simple shuffles.” 

   After two encores, and telling everybody how much he loved Cleveland, Jim Morrison accidentally locked himself in an old bathroom backstage. One of the band’s roadies said, “Stand back Jim.” He knocked the door down and set him free.

   The band toured non-stop after they left Cleveland. They had been touring non-stop for several years. Jim Morrison died in Paris of a heroin overdose the next year and the door shut forever on the band. It was a shame.

   The Richfield Coliseum was an arena in the middle of nowhere, halfway between Akron and Cleveland. It was built to be the home of the Cleveland Cavaliers, the local NBA team, although indoor soccer, indoor football, and hockey were played there, too. Larry Bird of the Boston Celtics said it was his favorite place to shoot hoops. He played his last pro game there. Muhammed Ali fought Chuck Wepner there in 1975. Dave Jones, Ali’s nutritionist, could never get the boxer to try soy burgers. He had to have his red meat. Chuck Wepner was his red meat that night. There were rodeos and monster trucks. There were high wire acts and hallelujah choruses. The WWF Survivor Series came and went and came back.

   I had a friend who had gotten free tickets to see Van Halen. Two other friends of ours went with us but had to fork over $10.75 apiece for the privilege. I didn’t know much about the band, except that they were no doubt about it loud as two or three jet engines, but free is free and since I had the free time I went. 

   The headbangers were from Pasadena California. They were Eddie Van Halen on guitar, Eddie’s brother Alex Van Halen on drums, Mike Anthony on bass, and David Lee Roth belting it out up front. Mike Anthony sang back-up while keeping the low pitch going.  

   “It wasn’t until the fourth or fifth Van Halen record that people would go, ‘Wow! You’re singing backgrounds on those records. We thought it was David Lee Roth doing that, too,’” the bass player said. “And I go, Hell, no! That’s not David Lee Roth.”

   The word among aficionado’s was that the band was “restoring hard rock to the forefront of the music scene,” whatever that meant. I was listening to lots of John Lee Hooker and the Balfa Brothers. The rock ‘n roll parade was largely passing me by. I didn’t have a clue who was at the front of the parade.

    Everybody I asked said Van Halen’s live shows were crazy energetic and Eddie Van Halen was a crazy virtuoso on the electric guitar. During the show he switched guitars right and left, but more-or-less stuck to a Stratocaster, except it wasn’t exactly a Stratocaster. Eddie Van Halen called it a Frankenstrat.

   “I wanted a Fender vibrato and a Stratocaster body style with a humbucker in it, and it did not exist,” he said. “People looked at me like I was crazy when I said that’s what I want. Where could I go to have someone make me one? Well, no one would, so I built one myself.” He wasn’t trying to find himself. He was creating himself.

   His homemade six-string was almost ten years old in 1984, made of odds and ends, a two-piece maple neck stuck onto a Stratocaster-style body. He used a chisel to gouge a hole in the body where he stuck a humbucking pickup taken out of a 1958 Gibson. He used black electrical tape to wrap up the loose ends and a can of red spray paint to get the look he wanted. When he met Kramer Guitar boss Dennis Berardi in 1982 Eddie showed him his Frankenstrat. It was his prize possession. 

   “We went up to his house and he got it out,” Dennis said. “It looked like something you’d throw in the garbage. That was his famous guitar.” 

   Van Halen released their first LP in 1978. By 1982 they had released four more LP’s. When they came to northeast Ohio they were one of the most successful rock acts of the day, if not the most successful. Their album “1984” sold 10 million copies and generated four hit singles. “Jump” jumped the charts to become a number one single.

   When the lights went down and the stage lights went up, the band took their spots. Eddie Van Halen wore tiger striped camo pants and a matching open jacket over no shirt. He wore a white bandana and his hair long. Mike Anthony wore a dark short-sleeved shirt and red pants. He wore his hair long, too. David Lee Roth wore a sleeveless vest, leather pants ripped and stitched every which way, and hula hoop bracelets on his wrists. He wore his hair even longer. Alex Van Halen wore a headband. The headband was all I could see of him behind his Wall of Drums. There were speakers galore stacked on top of each other on both sides of the drum set.

   When they launched into “Running with the Devil” Mike Anthony ran across the stage and slid on his knees playing the opening notes. David Lee Roth was a wild man, swinging a sword around like Zorro and doing acrobatics like the Olympian Kurt Thomas. He did Radio City Rockette kicks and jumped over the drum set while singing “Jump.” 

   Taylor Swift would have flipped out if she had been alive, but she wasn’t going to be alive for another five years. When she came into her own years later she got very good at strutting on stage, but she never jumped a drum set. The audience at the Palace on the Prairie was alive as they were ever going to be that night. David Lee Roth’s high flying got a standing ovation.

   In the middle of one song, David Lee Roth stopped singing. The band played on but slowly dropped out, one instrument at a time. “I say fuck the show, let’s all go across the street and get drunk,” he shouted into his handheld microphone. The crowd hooted, hollered, and cheered, forgetting for a moment they were in the middle of nowhere and the closest bar was miles away. 

   One of the best parts of the show was when Alex Van Halen and Mike Anthony did a long bass and drum duet. Eddie Van Halen did some good work on keyboards, doing the opener for “I’ll Wait.” He did his best work, however, on his guitars. He had a way of playing with two hands on the fretboard. He learned it from Jimmy Page of Led Zeppelin. 

   “I think I got the idea of tapping by watching him do his “Heartbreaker” solo back in 1971. He was doing a pull-off to an open string, and I thought wait a minute, open string and pull off? I can do that, but what if I use my finger as the nut and move it around? I just kind of took it and ran with it.” He filed for and got a patent for a device that attaches to the back of an electric guitar. It allows the musician to employ the tapping technique by playing the guitar like a piano with the face upward instead of forward.

   Most of us stayed in our seats during most of the show, only coming to our feet to applaud, but there was an undulating crowd squished like sardines at the front of the stage, where they stayed from beginning to end. They never left their feet. It was more than loud enough where we were up near the rafters. It had to be deafening if not mind-blowing being at the lip of the speakers.

   By the time the show ended Eddie Van Halen and David Lee Roth had long since stripped off their shirts. They came back for several encores and then the music was over. It took a half hour to shuffle out of the arena, a half hour to find our car, and another half hour to inch along the traffic jam the half mile to the highway. My sense hearing came back somewhere along I-271 on the way home.

   After the concert I went back to listening to the blues and zydeco. I didn’t rush out to buy any records by Van Halen. My cat and the neighbors, not to mention my peace and quiet roommate, would have complained about the noise. I tried explaining to my cat that one man’s noise was another man’s symphony, but he wasn’t having any of it. 

   Six years later, after the excitement of being pushed and pulled into existence had died down, when Taylor Swift was in her crib in the living room, she took a peek at a film clip on MTV of the 1984 Van Halen concert at the Richfield Coliseum. She went bananas over the sold-out crowd. She made a vow then and there that she would do the sure thing. She wasn’t going to invite 20,000 fans to hit the bottle. She was going to schmooze them into buying the bottle for her.

    The first thing she would do when she was ready to sing her way to stardom was head to Nashville. It would be a baby step, but she had her sights set. It was going to be the hillbilly highway first and then the superhighway. Her father was a stockbroker at Merrill Lynch and her mother was a marketing manager at an advertising agency. She already knew the way to the teller’s window at the bank. She was determined to be a rich girl when she was grown up. 

   She was sure as shooting not going to strum a Frankenstrat or bust out any freaky Mighty Mouse moves, with or without a sword, with or without a shirt, although her legs were fair game. They were shapely legs made for boots that were made for walking. She was going to belt out her break-up ballads and march her way to the front of the hit parade. She was going to blend Frank Sinatra’s pressed pants with some tried-and-true country, add a dash of spicy pop, mix in lots of love and heartache, and deliver it with catchy melodies. 

   Van Halen’s aim during their time at the top of the charts seemed to be to die of exhaustion rather than boredom. Their aim was true. Taylor Swift’s aim was different. She was going to the top of the charts but she wasn’t going to die of exhaustion getting there. She wasn’t going to take any chances, no matter how boring it might be.

Ed Staskus posts monthly on 147 Stanley Street http://www.147stanleystreet.com, Made in Cleveland http://www.clevelandohiodaybook.com, Atlantic Canada http://www.redroadpei.com, and Lithuanian Journal http://www.lithuanianjournal.com. 

“Cross Walk” by Ed Staskus

“Captures the vibe of mid-century NYC.” Sam Winchell, Beyond Fiction

Available on Amazon: https://www.amazon.com/dp/B0CRPSFPKP

Late summer and early autumn, New York City, 1956. Stickball in the streets and the Mob on the make. President Eisenhower on his way to Ebbets Field for the opening game of the World Series. A killer waits in the wings. A Hell’s Kitchen private eye scares up the shadows.

A Crying of Lot 49 Publication