I
Thought of work had halted Edith's aimless wandering on the
Christmas-spattered evening streets downtown. Now the drawing table and
empty chair in her studio brought Callista poignantly close in absence.
How arrogantly, like a beloved child, Callista had captured her life!
Window-shopping with no heart for it, necessary gifts already bought,
she had become fed up with Winchester, noise, people, sidewalk grit
flung by the wind; with gaudy lights desperately imitating good cheer,
drizzle-nosed bell-ringers and Santa Clauses, carols once pretty now
done to death, fed up with crowd faces till she recoiled from them as
from a rat-race of tragic masks.
Getting off the bus--she seldom used her car downtown, hating the
struggle of searching out a parking space--her skirt was twitched up by
the breeze for the lech of a pair of whistling teen-agers. Edith had
been dourly amused. _Try looking at the face some time, kids!_--and the
mood kept with her as far as her third floor walkup on Hallam Street.
The hour was nine-thirty, Papa Doorn just closing his delicatessen on
the ground floor, giving her a gentle "Good night, Miss Nolan!"
No mail but a swatch of ads drenched in the season's gladness, and the
janitor would never provide a wastebasket in the entry. She dumped the
mess in the studio trash-box, glancing at the cameras, screens, props,
at the dim end of the studio. A fantastic way to earn a living, close to
the mainstream of human vanity. But at this end, with the north light,
wall-shelves, drawing table, work could be done after survival was taken
care of. Callista's work for a year, and Edith's own. The
bread-and-butter end of the studio was already dusty. Edith had canceled
portrait engagements for the duration of the trial, disinclined to hire
a temporary helper: why knock oneself out immortalizing the fish-faced?
She touched the table, symbolic touching of a hardness-without-coldness
that was one element of Callista Blake. _Stop it, Red! She's not here._
She took down a folder of Callista's drawings--some careful, some swift,
all begotten of a mind that could see, laugh, pity, understand. Also in
that folder was a letter Callista had written after Edith's last visit
to the detention cell, Saturday, three days ago. Edith knew the
drawings. She would find nothing new in them now, when she was out of
temper and moved by a wish to start some work of her own. Glance at that
abandoned wagon in long grass? Or the supermarket clerk, homely day's
end weariness caught in a dozen lines with that compassion of Callista's
(at nineteen!) which she could almost never convey in spoken words? Not
now. Edith glanced at a watercolor on the wall, one she had taken from
Cal's apartment for safety with Herb Chalmers' distracted consent and
after the police had given leave. A mountain slope, a wind-ravished
pine, shouting deep color against a storm sky intense with the power of
two worlds, the world of life and growth and dying before Callista's
eyes, and the world of Callista's most observing self.
Off in her living-room the telephone rang. Edith ran for it. The voice
was slurred, uncertain. "Miss Nolan--Edith--all evening trying to get
you. Jim Doherty--now please don't hang up."
"Of course I won't." She tried not to snap. "What is it?"
"Had to ask you something." He was rather drunk. "May seem unreason'ble,
guess you hate me anyhow, but--"
"I won't hang up. I don't hate you. What is it, Jim?"
"Maybe wouldn't blame you. You feel I let her down. Feel I'm an enemy or
something--sorry--not what I'm trying to say--" She waited, watching her
thin white fingers play with a pencil from the telephone table, a
pinpoint of perception somehow important, as if it kept her distressed
and startled mind from swirling away down the telephone mouthpiece like
water down the hole of a handbasin. She heard a beat of mechanical
music; Jim would be in a bar, the booth shut against a squalling of
radio or television. The large-boned, dark-Irish face would be pale with
alcohol, filmed with sweat, black hair disordered, wide mouth talking
against its own unwillingness. Dark eyes rigid, unfocused, behind them
Jim's own image of a crackpot redhead who was Callista's friend. He was
a tall man; the stingy crannies of the booth would bother his legs. An
impressive young stallion: any woman felt that much, and one could
(sometimes) see why Callista--"Edith, what happened there, before
adjournment? I've got to know. I sort of lost track, then they were
taking her away. What--"
"You didn't hear what she said?"
"No, that's it, I didn't. I was praying--well, for her, though I suppose
that doesn't mean anything to you, no offense, anyway I--"
"Didn't your friend hear what she said?"
"My--oh, you mean Father Bland. No, he didn't."
"Is he deaf?"
"Yes, a little." She heard the righteous reproach; it must have done
Jim good to put her in the wrong. "What did she say?"
"She said: 'Go away, my love!'"
He would be still there. She heard breathing, and the background noise,
a hot trumpet squeaking up the summits of banality. She said: "Jim, do
you still love her at all?"
But how could she know the color of the word in his language? How was he
to glimpse the meanings of it in her own? If even Sam Grainger couldn't
quite admit that divergence of language long ago (_my own language far
simpler then!_) if not even Sam (_where are you?_) then how could poor
Jim Doherty who had no wish to think for himself?
"What else did she say?" Hadn't Jim heard the idiot question?
It seemed to her the question had been divided, an echo-voice asking of
another with another name: _Sam (where are you?) do you still love her
(the name was Red-Top, remember?) or think of her at all?_
Meanwhile--"She said nothing else, Jim, nothing I heard."
"Oh. I--look, I never told her--I mean--oh, _I_ don't know. I--" Edith
held the receiver further away with its wiry babble of misery: "I tried
to make her understand--that part, all in her head--she--"
"She fell in love with what she wanted you to be."
"What? No, you're wrong, she _wasn't_ in love with me."
"That's what I meant, Jim. She loved an image, not a man. Only, there
was a--" (_Edith, stop! Don't say it!_)--"a tangible male involved in it
too, who happened to get her pregnant."
"I--can't go for that psychological stuff. She's over eighteen. Well, I
know, you can beat me over the head with the pregnancy if you want to,
but since it wasn't God's will that it should live, what can I do?"
"What she said, perhaps." She heard her own voice electric, hurting in
her ears. "If she were still carrying it, what _would_ you do? That
would be wages of sin, I guess? The way it was God's will you should try
out a virgin for variety, or kicks? Or did you just feel that if an
unconventional, unreligious girl wasn't a whore she ought to be?"
"I shouldn't have called. God forgive you."
Edith set the instrument down. The trembling would presently stop.
Overcharge of adrenalin, stupid physical need to slash again, with
claws. She fumbled a cigarette from the box by the telephone. Anyway Jim
would not call back. He'd rest on the dignity of his last word, which
Father Bland would have approved.
Sam Grainger was in the world, somewhere. Married probably, with one of
the symphonies, teaching. His myriad hours of violin and oboe practice,
piano, harmony, counterpoint, all had been aiming at that. The violin
for preference, oboe because good violinists are numerous. With
affection that had never perished, Edith thought: _What Sam wants, Sam
earns and gets._ She noticed she was thinking in the present tense. Fair
enough: it would still be true. Sam Grainger would still be a man
dedicated and absorbed, immune to discouragement, too big for
distractions. He had not been too seriously distracted by an affair with
a redheaded art student. So what has become of the old brownstone front,
shabby-sacred rooms, thready hole in the rug, genially silly print of
"The Storm"--Mrs. Cardle considered that one real nice for anyone that
was artistic-like--and the bed that mysteriously didn't squeak if you
lay across it instead of lengthwise? What stills the music, and where
are the green shadows of Arcadia?
The rooms would have accepted the whispering and secret laughter of a
crowd of lovers in seven years, all giggling at sad, vague, moral Mrs.
Cardle and that grayish lump of dough, her husband, whose thick delirium
of hate for the antique coal furnace in the basement was very nearly a
form of love. You saw the Cardles dealing with an ebb and flow of
Boston lodgers world without end. But they could have been human and
mortal; the brownstone could have yielded to a flat-faced office
building. If it had not, though, the center flagstone of the rear yard
would look the same in a sluice of rain, the crack in it like the
junction of Ohio and Mississippi, seen by young eyes from the window of
the third floor back.
One gray afternoon--Edith's room dim, the curtains adequate--they had
stood naked near that window to watch Mrs. Cardle trying to teach her
old round-bellied bulldog to roll over and play dead. Behind closed eyes
and seven years, Edith felt again Sam's chin at her shoulder, shiver of
held-in laughter at the dog's patient refusal to understand and its
resemblance to Mr. Cardle; Sam's arm under her breasts moving, she
turning then, clutching his black curls in mimic savagery, twisting free
of him, racing him to the bed, caught with welcome violence and sudden
entering thrust, violently held through a long course of love, an animal
riot of pleasure carrying them together to the height, to the moment
when the heart must break and die a little, the explosion of not-pain,
the blindness and the quiet. And the quiet: summit of a hillside, also
homely truth of two bodies in the aftermath of orgasm, each
comic-serious detail of throbbing and subsiding organs felt, known,
recorded in the mind's continuing life history with acceptance,
tenderness, satisfaction, relief, amusement, wonder. Kissing him slowly
in the quiet, kissing the hard-tipped fingers of his left hand, fine
bony rib cage and knotty shoulders, the lifetime red mark printed under
his jawbone by the violin, his other love. And--"_Time I should get back
to work, Red-Top._"
Edith had been jealous, in a way, yet she had never knowingly desired to
cut him down to size or usurp the government of his private world. And
surely there had been cause to resent his indifference toward her own
work, ambition, oriented dreaming. Not indifference: call it lack of
awareness. As on that heartbreak evening when she had taken down Mrs.
Cardle's "Storm" and replaced it with a darktoned watercolor, a Nolan
original and, in her judgment, good.
He never saw it.
When he slipped into her room he had not seemed much preoccupied with
his own studies; he just looked at the watercolor and didn't see it.
Cheerful, until her darkening hopelessly unreasonable mood infected him.
When the quarrel began, over something else, some damned side issue now
blanked out of memory, he still didn't see the picture.
That quarrel was patched up the next night, in bed. There were others.
The essential trust of two-against-the-world was gone: in the darkness
behind daily perception two strangers still winced and glared,
astonished at the wounds. Drift then, from radiance to near-commonplace,
above the organ-point of things unsaid.
In the summer after the school year, Sam had written, once; Edith had
answered, twice. End of affair. Yielding to a long assault of cancer,
Edith's mother died that summer. An emptiness then, plus discouragement
with art school that kept her from going back. Instead she had taken a
commercial course in photography, her dazed but practical father
approving and footing the bill. The following summer, a purposeful
wandering in Amy the Model A (a cantankerously good little heap even now
in 1959), remembering more clearly than any other conversation what her
father had said before she left: "Look, Skinnay, you marry or work at
something you like, or just loaf a while and raise hell, but don't turn
into a dutiful daughter taking care of the old man." Shoving aside a
heap of paper work brought home--the old man was a C.P.A. and a good
one--and turning up to her the bald head, moon face, tenderly sarcastic
eyes. "Don't do that, or I will turn you over my knee, and your fanny,
dearest, is not fat enough to sustain the impact. The old man takes care
of himself." A purposeful wandering, for that summer she had surely
been looking for something more than a place that would do for a
photographic studio; looking for maturity perhaps. Then Winchester, the
investment paying off in adequate survival, plus a bit of freedom. No
more letters to Sam: end of affair, diminuendo to an imperfect cadence
dissonant with the organ-point, the only resolution silence.
_What did we think we were doing? I was fighting to be a person? Or just
to make Sam admit I must sometimes be person first, sweetheart second? A
lot of the time I was just damn well fighting ..._ Deep inside, very
likely, the daughter of earth had been weighing consequences, a simpler
Eve murmuring of home, nest, security, advantages of snaring a good man
when there was one to be had.
_My first, my only, which for a warmblooded redhead is absurd,
gentlemen, no argument._ What happens? Why this other drift that for
some of us, many of us, extends from months into years of accepting
dullness and the erosion of daily demands, waiting for the rainbow blaze
that may never appear, the heart knowing all the time that there's only
one life and not much time to live it? Edith fidgeted, angry at the
introspection itself, at the fatigue or laziness that held her in this
armchair when some other part of her honestly wanted to get up and go to
work. _O wind-sweet valley of Arcadia--remember me?_
She noticed the chill, and got up then with a flounce of irritation.
Caught by Jim's telephone call, she had not yet turned up the heat for
the Burrow. Maybe she wouldn't bother. Turn it up in the studio, leave
the Burrow cool for bedtime. _Get to work! Or try to._
Dust filmed the fireplace mantel. In a half-light beyond the bedroom
doorway, yesterday's panties gaped lewdly from the seat of a chair. She
must have been seduced by some clever idea when she was on the point of
tossing them in the laundry bag. At least she had made the bed. _Too
much alone, small Edith._ She remembered with a wrench of pain that
early last August Cal had just about agreed to give up her apartment and
come share this one. _August_--Edith carried her coat into the bedroom,
hung it properly, stuffed the offending panties away.
If Callista and Jim could have spoken each other's languages?
_Proposition absurd._ Callista groping out of the jungle of an ugly
childhood, Jim living (till Ann died anyway) according to surface
impulses and ready-made directives of social and religious
authority--no, there could have been no conversation. _What ailed her,
going overboard for that bundle of bad luck?_ Call it chance. Swept away
by need, nearness, charm of a prepossessing male; maybe unknowingly
goaded in spite of herself by the dithering emphasis of American culture
on sexual activity as the end, cure, meaning for everything:
luv-luv-luv. And Jim no more "to blame" than she. As much an accident as
falling downstairs.
A gust rattled the bedroom window and hummed across chimney-tops and
died. _Go away, my love!_
Edith changed out of the green suit into a cherished dingy blue
bathrobe. In the bureau mirror she glimpsed her own color and motion.
Clear sky-blue eyes would hold that color a lifetime, though the irises
would some day blur at the rims, the vision would not remain 20-20, lids
would crinkle, brows turn sandy-gray, then white. Grooves in the
forehead would deepen, and the brackets at nose and mouth. Red hair must
whiten--quickly, one could hope, without streaks. That smoothness from
small chin down a slim neck to the collar of Venus with no sag or
wrinkle at thirty-one--well. Already crowding her luck a bit there;
pretty Ann Doherty, for all her needless dieting, had been starting a
tiny double chin at twenty-six. The bathrobe unbelted allowed a gleam of
small breasts neat and high, jaunty and delicate, red-tipped like white
peonies. _Fun for somebody, going to waste--are you listening, bitch in
the manger?_ Her finger tapped the unsmiling woman in the glass, and
she was stricken by thought of another face, also far from the
conventional norms of beauty.
They used a hood, didn't they, electrodes concealed by an intolerable
obscenity of black rubber?
_No thought is finished until the thinker dies, then only blotted out,
the death rattle a throat-clearing for what's not to be said. Mother,
the morphine not helping yet, certain she'd left something on the stove
to boil over, couldn't convince her. For thought is action. What's this,
Edith? Philosophy A, Radcliffe, Class of '48 and all that?_
All the same, she reflected, it _is_ action, and the hell with Plato the
Father of Half-Truths. So why wonder that an earlier self becomes a
creature of mystery? Where was the cross thin woman who talked sharply
to Jim Doherty a few minutes ago? You say: It was one I who thought and
acted thus and so; now I am not what I was, but I inherit any continuing
good and bad and all responsibility: if I don't clean up after the
person I left behind, nobody else will. That was the thorny passage, the
truth too easily blurred.
Yet only a few, she thought, could endure the concept of mind-as-motion.
By contrast, how apparently solid and comfortable are the absolutes,
static symbols, devices of everyday talk to create the illusion of a
stillness in time, so that we can draw breath and feel for a moment that
we know who we are! In a ship you can stay below, avoid the portholes,
ignore the long rise and fall as the vessel encounters a rolling of the
sea, and pretend your cabin is a landside thing: fine woodwork, carpet,
all that, and if now and then you do feel a throb of engines or tilting
of the world, why, Captain God's on the bridge and will see to
everything. And yet it doesn't take too much courage to go stand at the
bow and discover the wind in your face: a child can do it; a grown-up
can recognize the captain as skilled but humanly mortal.
Edith crossed the hall to the studio, where cool light on the drawing
table waited like a reminder of courage. She took out Callista's
letter, carefully as though the pages were drawings, and the large light
handwriting did have some of that quality, Callista's hand refusing to
waver at any disturbance of her thought:
Dear Edith:
It was good to be with you, though I was unpleasant, ridding myself
of accumulated venom. I can't safely talk in my worst way to anyone
else--Cecil is too vulnerable. And I miscalculated, thought we had
more time, was about to shut up and hear you (what I wanted above
all) but then time up, opportunity gone.
Don't try to cut the red tape for another visit after the trial
opens. When I see you now I think too much, in spite of you, of
what I may lose. The work, freedom, gaiety, good talk I never heard
till I met you. I'd better keep my shell until this is over, I seem
to need it. Stay away just because I do cherish you. Dear Edith,
I'm sickened to remember how I talked this afternoon--but maybe it
won't end the way my present mood says it will. A mood is only part
of a journey--you said that to me once, now I keep the words with
me.
Cecil came to see me after you left--he looks ill, Edith. Does poor
old Mrs. Wilks really do enough about looking after him? Look--I
tried to tell him more about Mother and Herb, and the Saturday
night uproar with Mother that I described to you. Give him more of
that, will you? I made a botch of telling him, I suppose because I
love him, my mind wouldn't focus on my own mess. How does it happen
(C. let it slip) that Herb is meeting so many of the incidental
expenses when I said so damn plain it was to come out of my money
from Father's estate? Please try to find out, will you?
I can't think straight any more tonight. I slop off into self-pity,
lose track altogether. I don't believe human beings are _adequate_
for this kind of thing, Edith, I know I'm not anyway. You heard me
whimper once, only once. Alone, I do a good deal of that, friend, I
can't help it--hermit crab's a soft blob of nothing-much inside the
borrowed shell. I'm no Latimer sticking his hand in the fire. Not
even jailed for a Cause, just want to live. I don't know what love
is either, but now and then I wonder if anyone ever knew more about
it than I do.
My love to you,
Callista