For such she undeniably was, bent almost to a hoop with age, salt and pepper hair skewered up on top of her head with tortoiseshell pins, a face so eroded with wrinkles it was hard to tell whether she was smiling or not. She and her quarters had not seen soap and water for a long time and the lingering, sour, rank odour of uncaredforness faintly repelled me but the tea went down like blood. And don’t you remember the slops and old clothes smell of grandma’s kitchen? Colin Clout’s come home again, with a vengeance.
She poured tea for herself and perched on top of the pile of old newspapers and discarded clothing that cushioned her own chair at the other side of the fire, to sip from her cup and chatter about the violence of the weather whilst I went on thawing myself out, eyeing—nervously, I must admit—the dolls propped on every flat surface, the roomful of bedizened raggle-taggles.
When she saw me looking at the dolls, she said: “I see you’re admiring my beauties.” Meanwhile, snow drove against the curtainless window-panes like furious birds and blasts echoed through the house. The old woman thrust her empty cup away in the grate, all at once moved as if by a sudden sense of purpose; I saw I must pay in kind for my kind reception, I must give her a piece of undivided attention. She scooped up an armful of dolls and began to introduce them to me one by one. Dotty. Quite dotty, poor old thing.
The Hon. Frances Brambell had one eye out and her bell-shaped, satin skirt had collapsed but she must have been a pretty acquisition to the toy cupboard in her day; time, however, has its revenges, the three divorces, the voluntary exile in Morocco, the hashish, the gigolos, the slow erosion of her beauty … how it made the old woman chuckle! But how enchanting the girl had looked when she was presented, the ostrich feathers nodding above her curls! I looked from the old woman to the doll and back again; now the crone was animated, a thick track of spittle descended her chin. With an ironic laugh, she tossed the Hon. Frances Brambell to one side; the china head bounced off the wall and her limbs jerked a little before she lay still on the floor.
Seraphine, Duchess of Pyke, wore faded maroon silk and what had once been a feathered hat. She hailed, initially, from Paris and still possessed a certain style, even in her old age, although the Duchess had been by no means a model of propriety and, even if she carried off her acquired rank to the manner born, there is no more perfect a lady than one who is no better than she should be, suggested the old woman. In a paroxysm of wheezing laughter, she cast the Duchess and her pretensions on top of the Hon. Frances Brambell and told me now I must meet Lady Lucy, ah! she would be a marchioness when she inherited but had been infected with moth in her most sensitive parts and grown emaciated, in spite of her pretty velvet riding habit. She always wore purple, the colour of passion. The sins of the fathers, insinuated this gossipy harridan, a congenital affliction … the future held in store for the poor girl only clinics, sanatoria, a wheel-chair, dementia, premature death.
Each doll’s murky history was unfolded to me; the old woman picked them up and dismissed them with such confident authority I soon realised she knew all the little girls whose names she’d given to the dolls intimately. She must have been the nanny here, I thought; and stayed on after the family all left the sinking ship, after her last charge, that little daughter who might, might she not? have looked just like my imaginary blonde heiress, ran off with a virile but uncouth chauffeur, or, perhaps, the black saxophonist in the dance band of an ocean liner. And the retainer inherited the desuetude. In the old days, she must have wiped their pretty noses for them, cut their bread and butter into piano keys for them … all the little girls must once have played in this very nursery, come for tea with the young mistress, gone out riding on ponies, grown up to come to dances in wonderful dresses, stayed over for house parties, golf by day, affairs of the heart by night. Had my Melissa, herself, danced here, perhaps, in her unimaginable adolescence?
I thought of all the beautiful women with round, bare shoulders discreet as pearls going in to dinner in dresses as brilliant as the hot-house flowers that surrounded them, handsomely set off by the dinner-jackets of their partners, though they would have been far more finely accessorised by me—women who had once filled the whole house with that ineffable perfume of sex and luxury that drew me greedily to Melissa’s bed. And time, now, frosting those lovely faces, the years falling on their head like snow.
The wind howled, the logs hissed in the grate. The crone began to yawn and so did I. I can easily curl up in this armchair beside the fire; I’m half asleep already—please don’t trouble yourself. But, no; I must have the bed, she said.
You shall sleep in the bed.
And, with that, cackled furiously, jolting me from my bitter-sweet reverie. Her rheumy eyes flashed; I was stricken with the ghastly notion she wanted to sacrifice me to some aged lust of hers as the price of my night’s lodging but I said: “Oh, I can’t possibly take your bed, please no!” But her only reply was to cackle again.
When she rose to her feet, she looked far taller than she had been, she towered over me. Now, mysteriously, she resumed her old authority; her word was law in the nursery. She grasped my wrist in a hold like lockjaw and dragged me, weakly protesting, to the door that I knew, with a shock of perfect recognition, led to the night nursery.
I was cruelly precipitated back into the heart of my dream.
Beyond the door, on the threshold of which I stumbled, all was as it had been before, as if the night nursery were the changeless, unvaryingly eye of the storm and its whiteness that of a place beyond the spectrum of colours. The same scent of washed hair, the dim tranquillity of the night light. The white-enamelled crib, with its dreaming occupant. The storm crooned a lullaby; the little heiress of the snow pavilion had eyelids like carved alabaster that hold the light in a luminous cup, but she was a flawed jewel, this one, a shattered replica, a drawing that has been scribbled over, and, for the first time in all that night, I felt a pure fear.
The old woman softly approached her charge, and plucked an object, some floppy, cloth thing, from between the covers, where it had lain in the child’s pale arms. And this object she, cackling again with obscure glee, handed to me as ceremoniously as if it were a present from a Christmas tree. I jumped when I touched Pierrot, as if there were an electric charge in his satin pyjamas.
He was still crying. Fascinated, fearful, I touched the shining teardrop pendant on his cheek and licked my finger. Salt. Another tear welled up from the glass eye to replace the one I had stolen, then another, and another. Until the eyelids quivered and closed. I had seen his face before, a face that had eaten too much bread and margarine in its time. A magic snow-storm blinded my eyes; I wept, too.
Tell Melissa the image factory is bankrupt, grandma.
Diffuse, ironic benediction of the night light. The sleeping child extended her warm, sticky hand to grasp mine; in a terror of consolation, I took her in my arms, in spite of her impetigo, her lice, her stench of wet sheets.
The Quilt Maker
One theory is, we make our destinies like blind men chucking paint at a wall; we never understand nor even see the marks we leave behind us. But not too much of the grandly accidental abstract expressionist about my life, I trust; oh, no. I always try to live on the best possible terms with my unconscious and let my right hand know what my left is doing and, fresh every morning, scrutinise my dreams. Abandon, therefore, or rather, deconstruct the blind-action painter metaphor; take it apart, formalise it, put it back together again, strive for something a touch more hard-edged, intentional, altogether less arty, for I do believe we all have the right to choose.
In patchwork, a neglected household art neglected, obviously, because my sex excelled in it—well, there you are; that’s the way it’s been, isn’t it? Not that I have anything against fine art, mind; nevertheless, it took a hundred years for fine artists to catch up with the kind of brilliant abstraction that any ordinary housewife used to be able to put together in only a year, five years, ten years, without making a song and dance about
it.
However, in patchwork, an infinitely flexible yet harmonious overall design is kept in the head and worked out in whatever material happens to turn up in the ragbag: party frocks, sackcloth, pieces of wedding-dress, of shroud, of bandage, dress shirts etc. Things that have been worn out or torn, remnants, bits and pieces left over from making blouses. One may appliqué upon one’s patchwork birds, fruit and flowers that have been clipped out of glazed chintz left over from covering armchairs or making curtains, and do all manner of things with this and that.
The final design is indeed modified by the availability of materials; but not, necessarily, much.
For the paper patterns from which she snipped out regular rectangles and hexagons of cloth, the thrifty housewife often used up old love letters.
With all patchwork, you must start in the middle and work outward, even on the kind they call “crazy patchwork”, which is made by feather-stitching together arbitrary shapes scissored out at the maker’s whim.
Patience is a great quality in the maker of patchwork.
The more I think about it, the more I like this metaphor. You can really make this image work for its living; it synthesises perfectly both the miscellany of experience and the use we make of it.
Born and bred as I was in the Protestant north working-class tradition, I am also pleased with the metaphor’s overtones of thrift and hard work.
Patchwork. Good.
Somewhere along my thirtieth year to heaven—a decade ago now I was in the Greyhound Bus Station in Houston, Texas, with a man I was then married to. He gave me an American coin of small denomination (he used to carry about all our money for us because he did not trust me with it). Individual compartments in a large vending machine in this bus station contained various cellophane-wrapped sandwiches, biscuits and candy bars. There was a compartment with two peaches in it, rough-cheeked Dixie Reds that looked like Victorian pincushions. One peach was big. The other peach was small. I conscientiously selected the smaller peach.
“Why did you do that?” asked the man to whom I was married.
“Somebody else might want the big peach,” I said.
“What’s that to you?” he said.
I date my moral deterioration from this point.
No; honestly. Don’t you see, from this peach story, how I was brought up? It wasn’t—truly it wasn’t—that I didn’t think I deserved the big peach. Far from it. What it was, was that all my basic training, all my internalised values, told me to leave the big peach there for somebody who wanted it more than I did.
Wanted it; desire, more imperious by far than need. I had the greatest respect for the desires of other people, although, at that time, my own desires remained a mystery to me. Age has not clarified them except on matters of the flesh, in which now I know very well what I want; and that’s quite enough of that, thank you. If you’re looking for true confessions of that type, take your business to another shop. Thank you.
The point of this story is, if the man who was then my husband hadn’t told me I was a fool to take the little peach, then I would never have left him because, in truth, he was, in a manner of speaking, always the little peach to me.
Formerly, I had been a lavish peach thief, but I learned to take the small one because I had never been punished, as follows:
Canned fruit was a very big deal in my social class when I was a kid and during the Age of Austerity, food-rationing and so on. Sunday teatime; guests; a glass bowl of canned peach slices on the table. Everybody gossiping and milling about and, by the time my mother put the teapot on the table, I had surreptitiously contrived to put away a good third of those peaches, thieving them out of the glass bowl with my crooked forepaw the way a cat catches goldfish. I would have been shall we say, for the sake of symmetry—ten years old; and chubby.
My mother caught me licking my sticky fingers and laughed and said I’d already had my share and wouldn’t get any more, but when she filled the dishes up, I got just as much as anybody else.
I hope you understand, therefore, how, by the time two more decades had rolled away, it was perfectly natural for me to take the little peach; had I not always been loved enough to feel I had some to spare? What a dangerous state of mind I was in, then!
As any fool could have told him, my ex-husband is much happier with his new wife; as for me, there then ensued ten years of grab, grab, grab didn’t there, to make up for lost time.
Until it is like crashing a soft barrier, this collision of my internal calendar, on which dates melt like fudge, with the tender inexorability of time of which I am not, quite, yet, the ruins (although my skin fits less well than it did, my gums recede apace, I crumple like chiffon in the thigh). Forty.
The significance, the real significance, of the age of forty is that you are, along the allotted span, nearer to death than to birth. Along the lifeline I am now past the halfway mark. But, indeed, are we not ever, in some sense, past that halfway mark, because we know when we were born but we do not know …
So, having knocked about the four corners of the world awhile, the ex-peach thief came back to London, to the familiar seclusion of privet hedges and soiled lace curtains in the windows of tall, narrow terraces. Those streets that always seem to be sleeping, the secrecy of perpetual Sunday afternoons; and in the long, brick-walled back gardens, where the little town foxes who subsist off mice and garbage bark at night, there will be the soft pounce, sometimes, of an owl. The city is a thin layer on top of a wilderness that pokes through the paving stones, here and there, in tufts of grass and ragwort. Wood doves with mucky pink bosoms croon in the old trees at the bottom of the garden; we double-bar the door against burglars, but that’s nothing new.
Next-door’s cherry is coming out again. It’s April’s quick-change act: one day, bare; the next dripping its curds of bloom.
One day, once, sometime after the incident with the little peach, when I had put two oceans and a continent between myself and my ex-husband, while I was earning a Sadie Thompsonesque living as a barmaid in the Orient, I found myself, on a free weekend, riding through a flowering grove on the other side of the world with a young man who said: “Me Butterfly, you Pinkerton.” And, though I denied it hotly at the time, so it proved, except, when I went away, it was for good. I never returned with an American friend, grant me sufficient good taste.
A small, moist, green wind blew the petals of the scattering cherry blossom through the open windows of the stopping train. They brushed his forehead and caught on his eyelashes and shook off on to the slatted wooden seats; we might have been a wedding party, except that we were pelted, not with confetti, but with the imagery of the beauty, the fragility, the fleetingness of the human condition.
“The blossoms always fall,” he said.
“Next year, they’ll come again,” I said comfortably; I was a stranger here, I was not attuned to the sensibility, I believed that life was for living not for regret.
“What’s that to me?” he said.
You used to say you would never forget me. That made me feel like the cherry blossom, here today and gone tomorrow; it is not the kind of thing one says to a person with whom one proposes to spend the rest of one’s life, after all. And, after all that, for three hundred and fifty-two in each leap year, I never think of you, sometimes. I cast the image into the past, like a fishing line, and up it comes with a gold mask on the hook, a mask with real tears at the ends of its eyes, but tears which are no longer anybody’s tears.
Time has drifted over your face.
The cherry tree in next-door’s garden is forty feet high, tall as the house, and it has survived many years of neglect. In fact, it has not one but two tricks up its arboreal sleeve; each trick involves three sets of transformations and these it performs regularly as clockwork each year, the first in early, the second in late spring. Thus:
one day, in April, sticks; the day after, flowers; the third day, leaves. Then—
through May and early June, the cherries form and ripen u
ntil, one fine day, they are rosy and the birds come, the tree turns into a busy tower of birds admired by a tranced circle of cats below. (We are a neighbourhood rich in cats.) The day after, the tree bears nothing but cherry pits picked perfectly clean by quick, clever beaks, a stone tree.
The cherry is the principal monument of Letty’s wild garden. How wonderfully unattended her garden grows all the soft months of the year, from April through September! Dandelions come before the swallow does and languorously blow away in drifts of fuzzy seed. Then up sprouts a long bolster of creeping buttercups. After that, bindweed distributes its white cornets everywhere, it climbs over everything in Letty’s garden, it swarms up the concrete post that sustains the clothesline on which the lady who lives in the flat above Letty hangs her underclothes out to dry, by means of a pulley from her upstairs kitchen window. She never goes in to the garden. She and Letty have not been on speaking terms for twenty years.
I don’t know why Letty and the lady upstairs fell out twenty years ago when the latter was younger than I, but Letty already an old woman. Now Letty is almost blind and almost deaf but, all the same, enjoys, I think, the changing colours of this disorder, the kaleidoscope of the seasons variegating the garden that neither she nor her late brother have touched since the war, perhaps for some now forgotten reason, perhaps for no reason.
Letty lives in the basement with her cat.
Correction. Used to live.
Oh, the salty realism with which the Middle Ages put skeletons on gravestones, with the motto: “As I am now, so ye will be!” The birds will come and peck us bare.
I heard a dreadful wailing coming through the wall in the middle of the night. It could have been either of them, Letty or the lady upstairs, pissed out of their minds, perhaps, letting it all hang out, shrieking and howling, alone, driven demented by the heavy anonymous London silence of the fox-haunted night. Put my ear nervously to the wall to seek the source of the sound. “Help!” said Letty in the basement. The cow that lives upstairs later claimed she never heard a cheep, tucked up under the eaves in dreamland sleep while I leaned on the doorbell for twenty minutes, seeking to rouse her. Letty went on calling “Help!” Then I telephoned the police, who came flashing lights, wailing sirens, and double-parked dramatically, leaping out of the car, leaving the doors swinging; emergency call.
Burning Your Boats: The Collected Short Stories Page 58