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his daughter, “Time for your bath.” Neighbors walk by and watch him cut carpet with a saw. It is possible, he knows, that they can smell the ammonia from the street. He does not look up, does not indicate that he is available for chitchat. Even so, they call out, “Looks like you got your hands full there,” and, “What you need is a carpet cutter.” He grunts assent, wipes his brow with his sweaty shirt. Abbott rolls each of the eight nine-foot strips into a tight, damp bundle, and he stacks the bundles in the driveway like firewood.
Cord
, he thinks. He hears his wife tell his daughter, “Let’s get you to bed.” He returns the hedge clippers and saw to the garage, and he sweeps up the litter and carpet fluff from the driveway. Then he takes from the garage an empty plastic garbage can and a box of heavy-duty lawn bags. He places the carpet rolls in two bags, four to a bag, and he heaves the bags into the garbage can. He tries to push the lid on, but it will not fit. That one vivid star must be Venus. Garbage pickup, Abbott remembers, is not tomorrow but the following day. He would rather the stuffed and lidless can not sit incriminatinglyat the street for thirty-six hours, so he decides to drag it back into the garage. This kind of dragging will eventually wear a hole in the bottom of the can, but Abbott does not know that yet, and he is untroubled. He presses an illuminated doorbell button mounted on a two-by-four, and the garage door drops slowly like a final curtain. And this is where the story furcates like lightning, strikes ground in four places. The first ending is about Ernest Hemingway and masculinity: catching speckled trout in a cold stream, knocking them dead on a flat rock, furling them in leaves, and placing them in a shady spot until dinner. The second ending is cold and familiar, another variation of the look-behind-the-refrigerator horror of domesticity and the soul-diminishing obligations of middle-class citizenship. The third ending is a virulent eco-sci-fi scenario, involving planetary visitors in the year 2820 who find massive underground deposits of nondegraded carpet. The fourth ending is the riskiest and the most interesting. This ending makes a sincere attempt at Franklinian homily, and it goes more or less like this: Almost any task, no matter how initially abhorrent, can, if conceived with Ingenuity and executed with Industry, create feelings of Satisfaction and Pleasure.

21 Abbott and the Longest Day of the Year
    Amidst the toys in the family room is a battery-operated light-sensitive jungle-animal-sounds puzzle, given to Abbott’s daughter either by a childless friend of Abbott or a friend of Abbott who hates Abbott. Tonight, like all the nights, Abbott and his wife clean the family room after putting their daughter to bed. Tonight, like all the nights, when they turn off the light after cleaning they activate a loud light-sensitive jungle-animal sound—an unspecifically savage squawk from the bottom of the puzzle crate. A monkey, perhaps, or parrot. Tonight, like all the nights, the jungle-animal sound is an agonizing surprise, an ambush. Abbott and his wife laugh and say curse words.
Shit
and
fuck
, for instance. The imprecations, because they are directed at a puzzle for children ages two to four, seem more vulgar and thus more satisfying. Tonight, like all the nights, Abbott says he will just take the batteries out of that motherfucker. Outside, the sun is setting, and the sky has turned that color that is both lovely and frightening. “Yeah, yeah, yeah,” says Abbott’s wife, vanishing down the dark hallway. This day, like all the days, endless and gone.

22 The Abbott Hubcap Index (AHI)
    As Abbott drives homeward through the Pioneer Valley, his spirits are lifted by the sight of a shining hubcap propped against a maple tree, and then another against a weathered wooden fence. They look like gleaming medals bestowed upon the human