Why Michelangelo?
He’d catch himself crossing the street, saying his name.
Or listing his favorite works, in no particular order:
Battle of the Centaurs.
David.
Moses. The Pietà.
The Prisoners, or, as they were also called, The Slaves.
Those last ones always intrigued him for their unfinishedness—the giant figures, trapped inside the marble. One of the books, titled Michelangelo: The Master, went into great detail about those four particular sculptures and where they now lived, in the corridor of the Accademia Gallery in Florence; they led the way to David (although two more had escaped to Paris). In a dome of light stood a prince—a perfection—and flanking him, leading in, were these sad-but-gorgeous inmates, all fighting their way from the marble, unending, for the same:
Each of them pockmarked, white.
Their hands boxed up in stone.
They were elbows, ribs, and tortured limbs, and all were bent in struggle; a claustrophobic wrestle, for life and air, as the tourists flooded past them…all focused and fixed on him:
The royalty, gleaming, up ahead.
One of them, titled Atlas (of whom there were many pictures in that library book, from many angles), still carried the prism of marble on his neck, and battled the width and weight of it: his arms a marble rash, his torso a war on legs.
Like most, the adolescent Michael Dunbar was spellbound by David himself, but he had a soft spot for those beautiful, beaten-up slaves. Sometimes he’d recall a line, or an aspect, to copy out onto paper. Sometimes (and this embarrassed him a little) he actually wished that he could be Michelangelo, to become him only for a day or two. Often, he’d lie awake, indulging it, but knowing—he was a few centuries too late, and Featherton was a long way from Italy. Also (and this was the best part, I think), his art results at school had always been fairly poor, and by fourteen, it wasn’t even one of his subjects.
That, and his ceiling was flat, and three meters by four.
* * *
—
Adelle, for her part, encouraged him.
In the years that came before, and the ones that lay ahead, she bought him new calendars, and books: the great natural wonders of the world, and the man-made wonders, too. Other artists—Caravaggio, Rembrandt, Picasso, Van Gogh—and he read the books, he copied the work. He especially loved Van Gogh?
??s portraits of a postman (maybe in homage to old Harty), and he cut out pictures from the calendars as the months passed by, and stuck them to the wall. He enrolled in art again at school when the time came and gradually climbed past the others.
He could never let go of that first calendar, either.
It remained dead center in his bedroom.
When Adelle joked with him about it, he said, “I’d better get going, anyway.”
“And where might you be off to?”
It was the closest he ever came to a knowing grin, recalling the monthly dinner date. “To Walt’s, of course.” He was going out to walk the dog.
“What’s he cooking tonight, anyway?”
“Spaghetti.”
“Again?”
“I’ll bring you some home.”
“Don’t bother. I’ll be asleep here at the table, most likely.” She gave the ol’ TW a pat.