“Are you sure this thing is a Schurz?” said Alain. Nothing else bothered him. He wondered, at first, if Theo had found the picture at a junk sale and had signed it as a joke. The true gift, the one they were to cherish and display, would come along later, all the more to be admired because of the scare. But Theo never invented jokes; he blundered into them.
“I am not that woman,” Mathilde said. Of course not. Alain had never supposed she was. There was the crude red of the hair, the large backside, the dirty feet, and then the date—“1979”—firm and black and in the usual place, to the right of “T. Schurz.” At that time, Mathilde was still reading translations of Soviet poetry, in love with a teacher of Russian at her lycée, and had never heard of “T. Schurz.” In saying this, Alain showed he remembered the story of her life. If she’d had a reason to forgive him, about anything, she would have absolved him on the spot; then he spoiled the moment by declaring that it made no difference. The model was not meant to be anyone in particular.
Mathilde thought of Emma, Theo’s first long-term companion (twelve years), but by ’79 Emma must have been back in Alsace, writing cookery books with a woman friend. Julita (six years) fit the date but had worn a thick yellow braid down her back. She was famous for having tried to strangle Theo, but her hands were too small—she could not get a grip. After the throttling incident, which had taken place in a restaurant, Julita had packed a few things, most of them Theo’s, and moved to the north end of Paris, where she would not run into him. Emma left Theo a microwave oven, Julita a cast-iron cat, standing on its hind legs, holding a tray. She had stolen it from a stand at the flea market, Theo told Mathilde, but the story sounded unlikely: The cat was heavy to lift, let alone be fetched across a distance. Two people would have been needed; perhaps one had been Theo. Sometimes, even now, some old friend from the Julita era tells Theo that Julita is ill or hard up and that he ought to help her out. Theo will say he doesn’t know where she is or else, yes, he will do it tomorrow. She is like art taken off the market now, neither here nor there. The cat is still in the yard, rising out of broken flowerpots, empty bottles. Julita had told Theo it was the one cat that would never run away. She hung its neck with some amber beads Emma had overlooked in her flight, then pocketed the amber and left him the naked cat.
When Mathilde was in love with Theo and jealous of women she had never met, she used to go to an Indian shop, in Montparnasse, where first Emma, then Julita had bought their flat sandals and white embroidered shifts and long gauzy skirts, black and pink and indigo. She imagined what it must have been like to live, dress, go to parties, quarrel, and make up with Theo in the seventies. Emma brushed her brown hair upside down, to create a great drifting mane. A woman in the Indian store did Julita’s braid, just because she liked Julita. Mathilde bought a few things, skirts and sandals, but never wore them. They made her look alien, bedraggled, like the Romanian gypsy women begging for coins along Rue de Rennes. She did not want to steal from a market or fight with Theo in bistros. She belonged to a generation of women who showed a lot of leg and kept life smooth, tight-fitting, close-woven. Theo was right: She was better off with Alain.
Still, she had the right to know something about the woman she had been offered as a gift. It was no good asking directly; Theo might say it was a journalist who came to tape his memoirs or the wife of a Lutheran dignitary or one of his nieces from Alsace. Instead, she asked him to speak to Alain; out of aesthetic curiosity, she said, Alain acquired the facts of art. Theo often did whatever a woman asked, unless it was important. Clearly, this was not. Alain took the call in his office; at that time, he still had a cubicle with a bricked-up window. Nobody recalled who had ordered the bricks or how long ago. He worked by the light of a neon fixture that flickered continually and made his eyes water. Summoned by an aide to the minister, on propitious afternoons by the minister himself (such summonses were more and more frequent), he descended two flights, using the staircase in order to avoid a giddy change from neon tube to the steadier glow of a chandelier. He brought with him only a modest amount of paperwork. He was expected to store everything in his head.
Theo told Alain straight out that he had used Julita for the pose. She slept much of the day and for that reason made an excellent model: was never tired, never hungry, never restless, never had to break off for a cigarette. The picture had not worked out and he had set it aside. Recently he had looked at it again and decided to alter Julita from the neck up. Alain thought he had just been told something of consequence; he wanted to exchange revelations, let Theo know he had not enticed Mathilde away but had merely opened the net into which she could jump. She had grabbed Theo in her flight, perhaps to break the fall. But Alain held still; it would be unseemly to discuss Mathilde. Theo was simply there, like an older relative who has to be considered and mollified, though no one knows why. There was something flattering about having been offered an unwanted and unnecessary explanation; few artists would have bothered to make one. It was as though Theo had decided to take Alain seriously. Alain thanked him.
Unfortunately, the clarification had made the painting even less interesting than it looked. Until then, it had been a dud Schurz but an honest vision. The subject, a woman, entirely womanly, had been transfigured by Schurz’s reactionary visual fallacy (though honest, if one accepted the way his mind worked) into a hefty platitude; still, it was art. Now, endowed with a name and, why not, an address, a telephone number, a social-security number, and a personal history, Theo’s universal statement dwindled to a footnote about Julita—second long-term companion of T. Schurz, first husband of Mathilde, future first wife of Alain Poix. A white tile with a date and a signature would have shown more tact and common sense.
All this Alain said to Mathilde that night, as they ate their dinner next to the empty wall. Mathilde said she was certain Theo had gone to considerable trouble to choose something he believed they would understand and appreciate and that would enhance their marriage. It was one of her first lies to Alain: Theo had gone out to the shed where he kept his shortfalls and made a final decision about a dead loss. Perhaps he guessed they would never hang it and so damage his reputation, although as a rule he never imagined future behavior more than a few minutes away. Years ago, in a bistro on Rue Stanislas, he had drawn a portrait of Julita on the paper tablecloth, signed and dated it, torn it off, even made the edges neat. It was actually in her hands when he snatched it back, ripped it to shreds, and set the shreds on fire in an ashtray. It was then that Julita had tried to get him by the throat.
Yesterday, Friday, an April day, Theo was awakened by a hard beam of light trained on his face. There was a fainter light at the open door, where the stranger had entered easily. The time must have been around five o’clock. Theo could make out an outline, drawn in gray chalk: leather jacket, close-cropped head. (Foreign Legion deserter? Escaped prisoner? Neo-Nazi? Drugs?) He spoke a coarse, neutral, urban French—the old Paris accent was dying out—and told Theo that if he tried to move or call he, the intruder, might hurt him. He did not say how. They all watch the same programs, Theo told himself. He is young and he repeats what he has seen and heard. Theo had no intention of moving and there was no one to call. His thoughts were directed to the privy, in the yard. He hoped the young man would not take too long to discover there was nothing to steal, except a small amount of cash. He would have told him where to find it, but that might be classed as calling out. His checkbook was in a drawer of Emma’s old desk, his bank card behind the snapshot of Mathilde, propped on the shelf above the sink. The checkbook was no good to the stranger, unless he forced Theo to sign all the checks. Theo heard him scuffing about, heard a drawer being pulled. He shut his eyes, opened them to see the face bent over him, the intent and watchful expression, like a lover’s, and the raised arm and the flashlight (probably) wrapped in one of Mathilde’s blue-and-white tea towels.
He came to in full daylight. His nose had bled all over the pillows, and the mattress was sodden. He got up and walked
quite steadily, barefoot, over the stones and gravel of the yard; returning to the studio, he found some of yesterday’s coffee still in the pot. He heated it up in a saucepan, poured in milk, drank, and kept it down. Only when that was done did he look in a mirror. He could hide his blackened eyes behind sunglasses but not the raw bruise on his forehead or his swollen nose. He dragged the mattress outside and spread it in the cold April sunlight. By four o’clock, Mathilde’s announced arrival time—for it seemed to him today could be Saturday—the place was pretty well cleaned up, mattress back on the bed, soiled bedclothes rolled up, pushed in a corner. He found a banquet-size tablecloth, probably something of Emma’s, and drew it over the mattress. Only his cash had vanished; the checkbook and bank card lay on the floor. He had been attacked, for no reason, by a man he had never seen before and would be unable to recognize: His face had been neutral, like his voice. Theo turned on the radio and, from something said, discovered this was still Friday, the day before Mathilde’s habitual visiting day. He had expected her to make the mattress dry in some magical and efficient, Mathilde-like way. He kept in the shed a couple of sleeping bags, for rare nights when the temperature fell below freezing. He got one of them out, gave it a shake, and spread it on top of the tablecloth. It would have to do for that night.
Today, Saturday, Mathilde brought a meal packed in a black-and-white bag from Fauchon: cooked asparagus, with the lemon-and-oil sauce in a jar, cold roast lamb, and a gratin of courgettes and tomatoes—all he has to do is turn on Emma’s microwave—a Camembert, a round loaf of that moist and slightly sour bread, from the place on Rue du Cherche-Midi, which reminds Schurz of the bread of his childhood, a carton of thick cream, and a bowl of strawberries, washed and hulled. It is too early for French strawberries. These are from Spain, picked green, shipped palely pink, almost as hard as radishes, but they remind one that it is spring. Schurz barely notices seasons. He works indoors. If rain happens to drench the yard when he goes outside to the lavatory, he puts on the Alpine beret that was part of his uniform when he was eighteen and doing his military service.
Mathilde, moving out to live with Alain, took with her a picture of Theo from that period, wearing the beret and the thick laced-up boots and carrying the heavy skis that were standard issue. He skied and shot a rifle for eighteen months, even thought he might have made it a permanent career, if that was all there was to the Army. No one had yet fallen in love with him, except perhaps his mother. His life was simple then, has grown simpler now. The seasons mean nothing, except that green strawberries are followed by red. Weather means crossing the yard bareheaded or covered up.
Mathilde has noticed she is starting to think of him as “Schurz.” It is what his old friends call Theo. This afternoon, she had found him looking particularly Schurz-like, sitting on a chair he had dragged outside, drinking tea out of a mug, with the string of the tea bag trailing. He had on an overcoat and the regimental beret. He did not turn to the gate when she opened it or get up to greet her or say a word. Mathilde had to walk all round him to see his face.
“My God, Schurz, what happened?”
“I tripped and fell in the dark and struck my head on the cat.”
“I wish you’d get rid of it,” she said.
She took the mug from his hands and went inside, to unpack his dinner and make fresh tea. The beret, having concealed none of the damage, was useless now. He removed it and hung it rakishly on the cat, on one ear. Mathilde returned with, first, a small folding garden table (her legacy), then with a tray and teacups and a teapot and a plate of sliced gingerbread, which she had brought him the week before. She poured his tea, put sugar in, stirred it, and handed him the cup.
She said, “Theo, how long do you think you can go on living here, alone?” (It was so pathetic, she rehearsed, for Alain. Theo was like a child; he had made the most absurd attempt at covering up the damage, and instead of putting the mattress out to dry he had turned the wet side down and slept on top of it, in a sleeping bag. Who was that famous writer who first showed signs of senility and incontinence on a bridge in Rome? I kept thinking of him. Schurz just sat there, like a guilty little boy. He caught syphilis when he was young and gave it to Emma; he said it was from a prostitute, in Montmartre, but I believe it was a married woman, the wife of the first collector to start buying his work. He can’t stay there alone now. He simply can’t. His checkbook and bank card were lying next to the trash bin. He must have been trying to throw them away.)
Her picture had been on the floor, too, the one taken the day she married Theo. Mathilde has a small cloud of red-gold hair and wears a short white dress and a jacket of the eighties, with shoulders so wide that her head seems unnaturally small, like a little ball of reddish fluff. Theo is next to her, not too close. He could be a relative or a family friend or even some old crony who heard the noise of the party and decided to drop in. The photograph is posed here, in the yard. One can see a table laden with bottles, and a cement-and-stucco structure—the privy, with the door shut, for a change—and a cold-water tap and a bucket lying on its side. You had to fill the bucket and take it in with you.
Schurz never tried to improve the place or make it more comfortable. His reason was, still is, that he might be evicted at any time. Any month, any day, the police and the bailiffs will arrive. He will be rushed off the premises, with just the cast-iron cat as a relic of his old life.
“I’ll tell you what happened,” he said, showing her his mess of a face. “Yesterday morning, while I was still asleep, a man broke in, stole some money, and hit me with something wrapped in a towel. It must have been his flashlight.”
(Oh, if you had heard him! she continued to prepare for Alain. A comic-strip story. The truth is he is starting to miss his footing and to do himself damage, and he pees in his sleep, like a baby. What kind of doctor do we need for him? What sort of specialist? A geriatrician? He’s not really old, but there’s been the syphilis, and he has always done confused and crazy things, like giving us that picture, when we really wanted a plain, pure tile.)
Schurz at this moment is thinking of food. He would like to be handed a plate of pork ragout with noodles, swimming in gravy; but nobody makes that now. Or stewed eels in red wine, with the onions cooked soft. Or a cutlet of venison, browned in butter on both sides, with a purée of chestnuts. What he does not want is clear broth with a poached egg in it, or any sort of a salad. When he first came to Paris the cheapest meals were the heartiest. His mother had said, “Send me a Paris hat,” not meaning it; though perhaps she did. His money, when he had any, went to supplies for his work or rent or things to eat.
Only old women wore hats now. There were hats in store windows, dusty windows, in narrow streets—black hats, for funerals and widows. But no widow under the age of sixty ever bought one. Young women wore hats at the end of summer, tilted straw things, that they tried on just for fun. When they took the hats off, their hair would spring loose. The face, freed of shadow, took on a different shape, seemed fuller, unmysterious, as bland as the moon. There was a vogue for bright scarves, around the straw hats, around the hair, wound around the neck along with strings of bright beads, loosely coiled—sand-colored or coral or a hard kind of blue. The beads cast colored reflections on the skin of a throat or on a scarf of a different shade, like a bead diluted in water. Schurz and his friends ate cheap meals in flaking courtyards and on terraces where the tables were enclosed in a hedge of brittle, unwatered shrubs. Late at night, the girls and young women would suddenly find that everything they had on was too tight. It was the effect of the warm end-of-summer night and the food and the red wine and the slow movement of the conversation. It slid without wavering from gossip to mean gossip to art to life-in-art to living without boundaries. A scarf would come uncoiled and hang on the back of a chair or a twig of the parched hedge; as it would hang, later, over the foot of someone’s bed. Not often Schurz’s (not often enough), because he lived in a hotel near the Café Mabillon, long before all those places were renov
ated and had elevators put in and were given a star in some of the guidebooks. A stiff fine had to be paid by any client caught with a late-night visitor. The police used to patrol small hotels and knock on doors just before morning, looking for French people in trouble with the law and for foreigners with fake passports and no residence permits. When they found an extra guest in the room, usually a frantic young woman trying to pull the sheet over her face, the hotelkeeper was fined, too, and the tenant thrown out a few hours later. It was not a question of sexual morality but just of rules.
When dinner was almost finished, the women would take off their glass beads and let them drop in a heap among the ashtrays and coffee cups and on top of the wine stains and scribbled drawings. Their high-heeled sandals were narrow and so tight that they had to keep their toes crossed; and at last they would slip them off, unobserved, using first one foot, then the other. Scarf-less, shoeless, unbound, delivered, they waited for the last wine bottle to be emptied and the last of the coffee to be drunk or spilled before they decided what they specifically wanted or exactly refused. This was not like a memory to Theo but like part of the present time, something that unfolded gradually, revealing mysteries and satisfactions.
In the studio, behind him, Mathilde was making telephone calls. He heard her voice but not her words. On a late Saturday afternoon, she would be recording her messages on other people’s machines: He supposed there must be one or two to doctors, and one for the service that sends vans and men to take cumbersome objects away, such as a soiled mattress. Several brief inquiries must have been needed before she could find Theo a hotel room, free tonight, at a price he would accept and on a street he would tolerate. The long unbroken monologue must have been for Alain, explaining that she would be much later than expected, and why. On Monday she would take Theo to the Bon Marché department store and make him buy a mattress, perhaps a whole new bed. Now here was a memory, a brief, plain stretch of the past: Love apart, she had married him because she wanted to be Mme. T. Schurz. She would not go on attending parties and gallery openings as Schurz’s young friend. Nobody knew whether she was actually living with him or writing something on his work or tagging along for the evening. She did not have the look of a woman who would choose to settle for a studio that resembled a garage or, really, for Schurz. It turned out she could hardly wait to move in, scrape and wax whatever he had in the way of furniture, whitewash the walls. She trained climbing plants over the wire fence outside, even tried to grow lemon trees in terra-cotta tubs. The tubs are still there.
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