Authors: Mavis Gallant
Now, at no moment of this remarkable day did I feel anxious or worried or forlorn. The man at Windsor Station could not really affect my view of the future. I had seen some of the worst of life, but I had no way of judging it or of knowing what the worst could be. I had a sensation of loud, ruthless power, like an enormous waterfall. The past, the part I would rather not have lived, became small and remote, a dark pinpoint. My only weapons until now had been secrecy and insolence. I had stopped running away from schools and situations when I finally understood that by becoming a name in a file, by attracting attention, I would merely prolong my stay in prison – I mean, the prison of childhood itself. My rebellions then consisted only in causing people who were physically larger and legally sovereign to lose their self-control, to become bleached with anger, to shake with such temper that they broke cups and glasses and bumped into chairs. From the malleable, sunny child Olivia said she remembered, I had become, according to later chroniclers, cold, snobbish, and presumptuous. “You need an iron hand, Linnet.” I can still hear that melancholy voice, which belonged to a friend of my mother’s. “If anybody ever marries you he’d better have an iron hand.” After today I would never need to hear this, or anything approaching it, for the rest of my life.
A
nd so that June morning and the drive through empty, sunlit, wartime streets are even now like a roll of drums in the mind. My life was my own revolution – the tyrants deposed, the constitution wrenched from unwilling hands; I was, all by myself, the liberated crowd setting the palace on fire; I was the flags, the trees, the bannered windows, the flower-decked
trains. The singing and the skyrockets of the 1848 I so trustingly believed would emerge out of the war were me, no one but me; and, as in the lyrical first days of any revolution, as in the first days of any love affair, there wasn’t the whisper of a voice to tell me, “You might compromise.”
If making virtue of necessity has ever had a meaning it must be here: for I was independent
inevitably
. There were good-hearted Americans who knew a bit of my story – as much as I wanted anyone to know – and who hoped I would swim and not drown, but from the moment I embarked on my journey I went on the dark side of the moon. “You seemed so sure of yourself,” they would tell me, still troubled, long after this. In the cool journals I kept I noted that my survival meant nothing in the capitalist system; I was one of those not considered to be worth helping, saving, or even investigating. Thinking with care, I see this was true. What could I have turned into in another place? Why, a librarian at Omsk or a file clerk at Tomsk. Well, it hadn’t happened that way; I had my private revolution and I settled in with Olivia in Montreal. Sink or swim? Of course I swam. Jobs were for the having; you could pick them up off the ground. Working for a living meant just what it says – a brisk necessity. It would be the least important fragment of my life until I had what I wanted. The cheek of it, I think now: penniless, sleeping in a shed room behind the kitchen of Olivia’s cold-water flat, still I pointed across the wooden balustrade in a long open office where I was being considered for employment and said, “But I won’t sit there.” Girls were
there
, penned in like sheep. I did not think men better than women – only that they did more interesting work and got more money for it. In my journals I called other girls “coolies.” I did not know if life made them bearers or if they
had been born with a natural gift for giving in. “Coolie” must have been the secret expression of one of my deepest fears. I see now that I had an immense conceit: I thought I occupied a world other people could scarcely envision, let alone attain. It involved giddy risks and changes, stepping off the edge blindfolded, one’s hand on nothing more than a birth certificate and a five-dollar bill. At this time of sitting in judgment I was earning nine dollars a week (until I was told by someone that the local minimum wage was twelve, on which I left for greener fields) and washing my white piqué skirt at night and ironing at dawn, and coming home at all hours so I could pretend to Olivia I had dined. Part of this impermeable sureness that I needn’t waver or doubt came out of my having lived in New York. The first time I ever heard people laughing in a cinema was there. I can still remember the wonder and excitement and amazement I felt. I was just under fourteen and I had never heard people expressing their feelings in a public place in my life. The easy reactions, the way a poignant moment caught them, held them still – all that was new. I had come there straight from Ontario, where the reaction to a love scene was a kind of unhappy giggling, while the image of a kitten or a baby induced a long flat “Aaaah,” followed by shamed silence. You could imagine them blushing in the dark for having said that – just that “Aaaah.” When I heard that open American laughter I thought I could be like these people too, but had been told not to be by everyone, beginning with Olivia:
“Pas si fort”
was something she repeated to me so often when I was small that my father had made a tease out of it, called “passy four.” From a tease it became oppressive too: “For the love of God, Linnet, passy four.” What were these new people? Were they soft, too easily got at? I wondered that
even then. Would a dictator have a field day here? Were they, as Canadian opinion had it, vulgar? Perhaps the notion of vulgarity came out of some incapacity on the part of the refined. Whatever they were, they couldn’t all be daft; if they weren’t I probably wasn’t either. I supposed I stood as good a chance of being miserable here as anywhere, but at least I would not have to pretend to be someone else.
Now, of course there is much to be said on the other side: people who do not display what they feel have practical advantages. They can go away to be killed as if they didn’t mind; they can see their sons off to war without a blink. Their upbringing is intended for a crisis. When it comes, they behave themselves. But it is murder in everyday life – truly murder. The dead of heart and spirit litter the landscape. Still, keeping a straight face makes life tolerable under stress. It makes
public
life tolerable – that is all I am saying; because in private people still got drunk, went after each other with bottles and knives, rang the police to complain that neighbors were sending poison gas over the transom, abandoned infant children and aged parents, wrote letters to newspapers in favor of corporal punishment, with inventive suggestions. When I came back to Canada that June, at least one thing had been settled: I knew that it was all right for people to laugh and cry and even to make asses of themselves. I had actually known people like that, had lived with them, and they were fine, mostly – not crazy at all. That was where a lot of my confidence came from when I began my journey into a new life and a dream past.
M
y father’s death had been kept from me. I did not know its exact circumstances or even the date. He died when I was ten.
At thirteen I was still expected to believe a fable about his being in England. I kept waiting for him to send for me, for my life was deeply wretched and I took it for granted he knew. Finally I began to suspect that death and silence can be one. How to be sure? Head-on questions got me nowhere. I had to create a situation in which some adult (not my mother, who was far too sharp) would lose all restraint and hurl the truth at me. It was easy: I was an artist at this. What I had not foreseen was the verbal violence of the scene or the effect it might have. The storm that seemed to break in my head, my need to maintain the pose of indifference (“What are you telling me that for? What makes you think I care?”) were such a strain that I had physical reactions, like stigmata, which doctors would hopelessly treat on and off for years and which vanished when I became independent. The other change was that if anyone asked about my father I said, “Oh, he died.” Now, in Montreal, I could confront the free adult world of falsehood and evasion on an equal footing; they would be forced to talk to me as they did to each other. Making appointments to meet my father’s friends – Mr. Archie McEwen, Mr. Stephen Ross-Colby, Mr. Quentin Keller – I left my adult name, “Miss Muir.” These were the men who eight, nine, ten years ago had asked, “Do you like your school?” – not knowing what else to say to children. I had curtsied to them and said, “Good night.” I think what I wanted was special information about despair, but I should have known that would be taboo in a place where “like” and “don’t like” were heavy emotional statements.
Archie McEwen, my father’s best friend, or the man I mistook for that, kept me standing in his office on St. James Street West, he standing too, with his hands behind his back, and he said the following – not reconstructed or approximate
but recalled, like “The religions of ancient Greece and Rome are extinct” or “O come, let us sing unto the Lord”:
“Of course, Angus was a very sick man. I saw him walking along Sherbrooke Street. He must have just come out of hospital. He couldn’t walk upright. He was using a stick. Inching along. His hair had turned gray. Nobody knew where Charlotte had got to, and we’d heard you were dead. He obviously wasn’t long for this world either. He had too many troubles for any one man. I crossed the street because I didn’t have the heart to shake hands with him. I felt terrible.”
Savage? Reasonable? You can’t tell, with those minds. Some recent threat had scared them. The Depression was too close, just at their heels. Archie McEwen did not ask where I was staying or where I had been for the last eight years; in fact, he asked only two questions. In response to the first I said, “She is married.”
There came a gleam of interest – distant, amused: “So she decided to marry him, did she?”
My mother was highly visible; she had no secrets except unexpected ones. My father had nothing but. When he asked, “Would you like to spend a year in England with your Aunt Dorothy?” I had no idea what he meant and I still don’t. His only brother, Thomas, who was killed in 1918, had not been married; he’d had no sisters, that anyone knew. Those English mysteries used to be common. People came out to Canada because they did not want to think about the Thomases and Dorothys anymore. Angus was a solemn man, not much of a smiler. My mother, on the other hand – I won’t begin to describe her, it would never end – smiled, talked, charmed anyone she didn’t happen to be related to, swam in scandal like a partisan among the people. She made herself the central
figure in loud, spectacular dramas which she played with the houselights on; you could see the audience too. That was her mistake; they kept their reactions, like their lovemaking, in the dark. You can imagine what she must have been in this world where everything was hushed, muffled, disguised: she must have seemed all they had by way of excitement, give or take a few elections and wars. It sounds like a story about the old and stale, but she and my father had been quite young eight and ten years before. The dying man creeping along Sherbrooke Street was thirty-two. First it was light chatter, then darker gossip, and then it went too far (
he
was ill and he couldn’t hide it;
she
had a lover and didn’t try); then suddenly it became tragic, and open tragedy was disallowed. And so Mr. Archie McEwen could stand in his office and without a trace of feeling on his narrow Lowland face – not unlike my father’s in shape – he could say, “I crossed the street.”
Stephen Ross-Colby, a bachelor, my father’s painter chum: the smell of his studio on St. Mark Street was the smell of a personal myth. I said timidly, “Do you happen to have anything of his – a drawing or anything?” I was humble because I was on a private, personal terrain of vocation that made me shy even of the dead.
He said, “No, nothing. You could ask around. She junked a lot of his stuff and he junked the rest when he thought he wouldn’t survive. You might try …” He gave me a name or two. “It was all small stuff,” said Ross-Colby. “He didn’t do anything big.” He hurried me out of the studio for a cup of coffee in a crowded place – the Honey Dew on St. Catherine Street, it must have been. Perhaps in the privacy of his studio I might have heard him thinking. Years after that he would try to call me “Lynn,” which I never was, and himself “Steve.” He’d
come into his own as an artist by then, selling wash drawings of Canadian war graves, sun-splashed, wisteria-mauve, lime-green, with drifts of blossom across the name of the regiment; gained a reputation among the heartbroken women who bought these impersonations, had them framed – the only picture in the house. He painted the war memorial at Caen. (“Their name liveth forever.”) His stones weren’t stones but mauve bubbles – that is all I have against them. They floated off the page. My objection wasn’t to “He didn’t do anything big” but to Ross-Colby’s way of turning the dead into thistledown. He said, much later, of that meeting, “I felt like a bastard, but I was broke, and I was afraid you’d put the bite on me.”
Let me distribute demerits equally and tell about my father’s literary Jewish friend, Mr. Quentin Keller. He was older than the others, perhaps by some twelve years. He had a whispery voice and a long pale face and a daughter older than I. “Bossy Wendy” I used to call her when, forced by her parents as I was by mine, Bossy Wendy had to take a whole afternoon of me. She had a room full of extraordinary toys, a miniature kitchen in which everything worked, of which all I recall her saying is “Don’t touch.” Wendy Keller had left Smith after her freshman year to marry the elder son of a Danish baron. Her father said to me, “There is only one thing you need to know and that is that your father was a gentleman.”
Jackass
was what I thought. Yes, Mr. Quentin Keller was a jackass. But he was a literary one, for he had once written a play called
Forbearance
, in which I’d had a role. I had bounded across the stage like a tennis ball, into the arms of a young woman dressed up like an old one, and cried my one line: “Here I am, Granny!” Of course, he did not make his living fiddling about with amateur theatricals; thanks to our meeting
I had a good look at the inside of a conservative architect’s private office – that was about all it brought me.