"They are particularly fine examples," said Richard, "of a certain period. The panelling is also of high quality." Despite his pedantry and his condescending tone, I felt grateful to him: it didn't occur to me that he was taking inventory. He knew a tottering regime when he saw one: he knew we were up for auction, or soon would be.
"By museum, do you mean dusty?" said Alex Thomas. "Or perhaps you meant obsolete."
Father scowled. Winifred, to do her justice, blushed.
"You shouldn't pick on those weaker than yourself," said Callie in a pleased undertone.
"Why not?" said Alex. "Everyone else does."
Reenie had gone the whole hog on the menu, or as much of that hog as we could by that time afford. But she'd bitten off more than she could chew. Mock Bisque, Perch a la Provencale, Chicken a la Providence - on it came, one course after another, unrolling in an inevitable procession, like a tidal wave, or doom. There was a tinny taste to the bisque, a floury taste to the chicken, which had been treated too roughly and had shrunk and toughened. It was not quite decent to see so many people in one room together, chewing with such thoughtfulness and vigour. Mastication was the right name for it - not eating.
Winifred Prior was pushing things around on her plate as if playing dominoes. I felt a rage against her: I was determined to eat up everything, even the bones. I would not let Reenie down. In the old days, I thought, she'd never have been stuck like this - caught short, exposed, and thereby exposing us. In the old days they'd have brought in experts.
Beside me, Alex Thomas too was doing his duty. He was sawing away as if life depended on it; the chicken squeaked under his knife. (Not that Reenie was grateful to him for his dedication. She kept tabs on who had eaten what, you may be sure. That Alex What's-his-name certainly had an appetite on him, was her comment. You'd think he'd been starved in a cellar.)
Under the circumstances, conversation was sporadic. There was a lull after the cheese course, however - the cheddar too young and bouncy, the cream too old, the bleu too high - during which we could pause and take stock, and look around us.
Father turned his one blue eye on Alex Thomas. "So, young man," he said, in what he may have thought was a friendly tone, "what brings you to our fair city?" He sounded like a paterfamilias in a stodgy Victorian play. I looked down at the table.
"I'm visiting friends, sir," Alex said, politely enough. (We would hear Reenie, later, on the subject of his politeness. Orphans were well mannered because good manners had been beaten into them, in the orphanages. Only an orphan could be so self-assured, but this aplomb of theirs concealed a vengeful nature - underneath, they were jeering at everyone. Well, of course they'd be vengeful, considering how they'd been fobbed off. Most anarchists and kidnappers were orphans.)
"My daughter tells me you are preparing for the ministry," said Father. (Neither Laura nor I had said anything about this - it must have been Reenie, and predictably, or perhaps maliciously, she'd got it a little wrong.)
"I was, sir," said Alex. "But I had to give it up. We came to a parting of the ways."
"And now?" said Father, who was used to getting concrete answers.
"Now I live by my wits," said Alex. He smiled, to show selfdeprecation.
"Must be hard for you," Richard murmured and Winifred laughed. I was surprised: I hadn't credited him with that kind of wit.
"He must mean he's a newspaper reporter," she said. "A spy in our midst!"
Alex smiled again, and said nothing. Father scowled. As far as he was concerned, newspaper reporters were vermin. Not only did they lie, they preyed on the misery of others - corpse flies was his term for them. He did make an exception for Elwood Murray, because he'd known the family. Drivel-monger was the worst he would say about Elwood.
After that the conversation turned to the general state of affairs - politics, economics - as it was likely to in those days. Worse and worse, was Father's opinion; about to turn the corner, was Richard's. It was hard to know what to think, said Winifred, but she certainly hoped they'd be able to keep the lid on.
"The lid on what?" said Laura, who hadn't said anything so far. It was as if a chair had spoken.
"On the possibility of social turmoil," said Father, in his reprimanding tone that meant she was not to say any more.
Alex said he doubted it. He'd just come back from the camps, he said.
"The camps?" said Father, puzzled. "What camps?"
"The relief camps, sir," said Alex. "Bennett's labour camps, for the unemployed. Ten hours a day and slim pickings. The boys aren't too keen on it - I'd say they're getting restless."
"Beggars can't be choosers," said Richard. "It's better than riding the rails. They get three square meals, which is more than a workman with a family to support may get, and I'm told the food's not bad. You'd think they'd be grateful, but that sort never are."
"They're not any particular sort," said Alex.
"My God, an armchair pinko," said Richard. Alex looked down at his plate.
"If he's one, so am I," said Callie. "But I don't think you have to be a pinko in order to realize . . ."
"What were you doing out there?" said Father, cutting her off. (He and Callie had been arguing quite a lot lately. Callie wanted him to embrace the union movement. He said Callie wanted two and two to make five.)
Just then the bombe glacee made an entrance. We had an electric refrigerator by then - we'd got it just before the Crash - and Reenie, although suspicious of its freezing compartment, had made good use of it for this evening. The bombe was shaped like a football, and was bright green and hard as flint, and took all our attention for a while.
While the coffee was being served the fireworks display began, down at the Camp Grounds. We all went out on the dock to watch. It was a lovely view, as you could see not only the fireworks themselves but their reflections in the Jogues River. Fountains of red and yellow and blue were cascading into the air - exploding stars, chrysanthemums, willow trees made of light.
"The Chinese invented gunpowder," said Alex, "but they never used it for guns. Only fireworks. I can't say I really enjoy them, though. They're too much like heavy artillery."
"Are you a pacifist?" I said. It seemed like the sort of thing he might be. If he said yes, I intended to disagree with him, because I wanted his attention. He was talking mostly to Laura.
"Not a pacifist," said Alex. "But my parents were both killed in the war. Or I assume they must have been killed."
Now we'll get the orphan story, I thought. After all the fuss Reenie's been making, I hope it's a good one.
"You don't know for sure?" said Laura.
"No," said Alex. "I'm told that I was found sitting on a mound of charred rubble, in a burned-out house. Everyone else there was dead. Apparently I'd been hiding under a washtub or a cooking pot - a metal container of some kind."
"Where was this? Who found you?" Laura whispered.
"It's not clear," said Alex. "They don't really know. It wasn't France or Germany. East of that - one of those little countries. I must have been passed from hand to hand; then the Red Cross got hold of me one way or another."
"Do you remember it?" I said.
"Not really. A few details were misplaced along the way - my name and so forth - and then I ended up with the missionaries, who felt that forgetfulness would be the best thing for me, all things considered. They were Presbyterians, a tidy bunch. We all had our heads shaved, for the lice. I can recall the feeling of suddenly having no hair - how cool it was. That's when my memories really begin."
Although I was beginning to like him better, I'm ashamed to admit that I was more than a little skeptical about this story. There was too much melodrama in it - too much luck, both bad and good. I was still too young to be a believer in coincidence. And if he'd been trying to make an impression on Laura - was he trying? - he couldn't have chosen a better way.
"It must be terrible," I said, "not to know who you really are."
"I used to think that," said Alex. "But the
n it came to me that who I really am is a person who doesn't need to know who he really is, in the usual sense. What does it mean, anyway - family background and so forth? People use it mostly as an excuse for their own snobbery, or else their failings. I'm free of the temptation, that's all. I'm free of the strings. Nothing ties me down." He said something else, but there was an explosion in the sky and I couldn't hear. Laura heard though; she nodded gravely.
(What was it he said? I found out later. He said, At least you're never homesick.)
A dandelion of light burst above us. We all looked up. It's hard not to, at such times. It's hard not to stand there with your mouth open.
Was that the beginning, that evening - on the dock at Avilion, with the fireworks dazzling the sky? It's hard to know. Beginnings are sudden, but also insidious. They creep up on you sideways, they keep to the shadows, they lurk unrecognized. Then, later, they spring.
Hand-tinting
Wild geese fly south, creaking like anguished hinges; along the riverbank the candles of the sumacs burn dull red. It's the first week of October. Season of woollen garments taken out of mothballs; of nocturnal mists and dew and slippery front steps, and late-blooming slugs; of snapdragons having one last fling; of those frilly ornamental pink-and-purple cabbages that never used to exist, but are all over everywhere now.
Season of chrysanthemums, the funeral flower; white ones, that is. The dead must get so tired of them.
The morning was brisk and fair. I picked a small bunch of yellow and pink snapdragons from the front garden and took them to the cemetery, to place them at the family tomb for the two pensive angels on their white cube: it would be something different for them, I thought. Once there I performed my small ritual - the circumlocution of the monument, the reading of the names. I think I do it silently, but once in a while I catch the sound of my own voice, muttering away like some Jesuit saying a breviary.
To pronounce the name of the dead is to make them live again, said the ancient Egyptians: not always what one might wish.
When I'd been all the way around the monument, I found a girl - a young woman - kneeling before the tomb, or before Laura's place on it. Her head was bowed. She was wearing black: black jeans, black T-SHIRT and jacket, a small black knapsack of the kind they carry now instead of purses. She had long dark hair - like Sabrina's, I thought with a sudden lurching of the heart: Sabrina has come back, from India or wherever she's been. She's come back without warning. She's changed her mind about me. She was intending to surprise me, and now I've spoiled it.
But when I peered more closely, I saw this girl was a stranger: some overwrought graduate student, no doubt. At first I'd thought she was praying, but no, she was placing a flower: a single white carnation, the stem wrapped in tinfoil. As she stood up, I saw that she was crying.
Laura touches people. I do not.
After the button factory picnic, there was the usual sort of account of it in the Herald and Banner - which baby had won the Most Beautiful Baby contest, who'd got Best Dog. Also what Father had said in his speech, much abbreviated: Elwood Murray put an optimistic gloss on everything, so it sounded like business as usual. There were also some photos - the winning dog, a dark mop-shaped silhouette; the winning baby, fat as a pincushion, in a frilled bonnet; the step-dancers holding up a giant cardboard shamrock; Father at the podium. It wasn't a good picture of him: he had his mouth half-open, and looked as if he were yawning.
One of the pictures was of Alex Thomas, with the two of us - me to the left of him, Laura to the right, like bookends. Both of us were looking at him and smiling; he was smiling too, but he'd thrust his hand up in front of him, as gangland criminals did to shield themselves from the flashbulbs when they were being arrested. He'd only managed to blot out half of his face, however. The caption was, "Miss Chase and Miss Laura Chase Entertain an Out-of-Town Visitor."
Elwood Murray hadn't managed to track us down that afternoon, in order to find out Alex's name, and when he'd called at the house he'd got Reenie, who'd said our names should not be bandied about with God knows who, and had refused to tell him. He'd printed the picture anyway, and Reenie was affronted, as much by us as by Elwood Murray. She thought this photo verged in the immodest, even though our legs weren't showing. She thought we both had silly leers on our faces, like lovelorn geese; with our mouths gaping open like that we might as well have been drooling. We'd made a sorry spectacle of ourselves: everyone in town would laugh at us behind our backs, for mooning over some young thug who looked like an Indian - or, worse, a Jew - and with his sleeves rolled up like that, a Communist into the bargain.
"That Elwood Murray ought to be spanked," she said. "Thinks he's so all-fired cute." She tore the paper up and stuffed it into the kindling box, so Father wouldn't see it. He must have seen it anyway, down at the factory, but if so he made no comment.
Laura paid a call on Elwood Murray. She did not reproach him or repeat any of what Reenie had said about him. Instead she told him she wanted to become a photographer, like him. No: she wouldn't have told such a lie. That was only what he inferred. What she really said was that she wanted to learn how to make photographic prints from negatives. This was the literal truth.
Elwood Murray was flattered by this mark of favour from the heights of Avilion - although mischievous, he was a fearful snob - and agreed to let her help him in the darkroom three afternoons a week. She could watch him print the portraits he did on the side, of weddings and children's graduations and so forth. Although the type was set and the newspaper run off by a couple of men in the back room, Elwood did almost everything else around the weekly paper, including his own developing.
Perhaps he might teach her how to do hand-tinting, as well, he said: it was the coming thing. People would bring in their old black-and-white prints to have them rendered more vivid by the addition of living colour. This was done by bleaching out the darkest areas with a brush, then treating the print with sepia toner to give a pink underglow. After that came the tinting. The colours came in little tubes and bottles, and had to be very carefully applied with tiny brushes, the excess fastidiously blotted off. You needed taste and the ability to blend, so the cheeks wouldn't look like circles of rouge or the flesh like beige cloth. You needed good eyesight and a steady hand. It was an art, said Elwood - one he was quite proud to have mastered, if he did say so himself. He kept a revolving selection of these hand-tinted photos in one corner of the newspaper-office window, as a sort of advertisement. Enhance Your Memories, said the hand-lettered sign he'd placed beside them.
Young men in the now-outdated uniforms of the Great War were the most frequent subjects; also brides and grooms. Then there were graduation portraits, First Communions, solemn family groups, infants in christening gear, girls in formal gowns, children in party outfits, cats and dogs. There was the occasional eccentric pet - a tortoise, a macaw - and, infrequently, a baby in a coffin, waxen-faced, surrounded by ruffles.
The colours never came out clear, the way they would on a piece of white paper: there was a misty look to them, as if they were seen through cheesecloth. They didn't make the people seem more real; rather they became ultra-real: citizens of an odd half-country, lurid yet muted, where realism was beside the point.
Laura told me what she was doing vis-a-vis Elwood Murray; she also told Reenie. I expected a protest, an uproar; I expected Reenie to say that Laura was lowering herself, or acting in a tawdry, compromising fashion. Who could tell what might go on in a darkroom, with a young girl and a man and the lights off? But Reenie took the view that it wasn't as if Elwood was paying Laura to work for him: rather he was teaching her, and that was quite different. It put him on a level with the hired help. As for Laura being in a darkroom with him, no one would think any harm of it, because Elwood was such a pansy. I suspect Reenie was secretly relieved to have Laura showing an interest in something other than God.
Laura certainly showed an interest, but as usual she went overboard. She nicked some of Elwood's hand-tinting ma
terials and brought them home with her. I found this out by accident: I was in the library, dipping into the books at random, when I noticed the framed photographs of Grandfather Benjamin, each with a different prime minister. Sir John Sparrow Thompson's face was now a delicate mauve, Sir Mackenzie Bowell's a bilious green, Sir Charles Tupper's a pale orange. Grandfather Benjamin's beard and whiskers had been done in light crimson.
That evening I caught her in the act. There on her dressing table were the little tubes, the tiny brushes. Also the formal portrait of Laura and me in our velvet dresses and Mary Janes. Laura had removed the print from its frame, and was tinting me a light blue. "Laura," I said, "what in heaven's name are you up to? Why did you colour those pictures? The ones in the library. Father will be livid."
"I was just practising," said Laura. "Anyway, those men needed some enhancing. I think they look better."
"They look bizarre," I said. "Or very ill. Nobody's face is green! Or mauve."
Laura was unperturbed. "It's the colours of their souls," she said. "It's the colours they ought to have been."
"You'll get in big trouble! They'll know who did it."
"Nobody ever looks at those," she said. "Nobody cares."
"Well, you'd better not lay a finger on Grandmother Adelia," I said. "Nor the dead uncles! Father would have your hide!"
"I wanted to do them in gold, to show they're in glory," she said. "But there isn't any gold. The uncles, not Grandmother. I'd do her a steel grey."
"Don't you dare! Father doesn't believe in glory. And you'd better take those paints back before you're accused of theft."
"I haven't used much," said Laura. "Anyway, I brought Elwood a jar of jam. It's a fair trade."
"Reenie's jam, I suppose. "Out of the cold cellar - did you ask her? She counts that jam, you know." I picked up the photograph of the two of us. "Why am I blue?"
"Because you're asleep," said Laura.
The tinting materials weren't the only things she nicked. One of Laura's jobs was filing. Elwood liked his office kept very neatly, and his darkroom as well. His negatives were placed in glassine envelopes, filed according to the date on which they'd been taken, so it was easy for Laura to locate the negative of the picnic shot. She made two black-and-white prints of it, one day when Elwood had gone out and she had the run of the place to herself. She didn't tell anybody about this, not even me - not until later. After she'd made the prints, she slipped the negative into her handbag and took it home with her. She did not consider it stealing: Elwood had stolen the picture in the first place by not asking permission of us, and she was only taking away from him something that had never really belonged to him anyway.
The Blind Assassin Page 20