4
Cynthia had a feeling that her dead sister was not altogether pleased with her—had discovered by now that she and I had conspired to break her romance; and so, in order to disarm her shade, Cynthia reverted to a rather primitive type of sacrificial offering (tinged, however, with something of Sybil’s humor), and began to send to D.’s business address, at deliberately unfixed dates, such trifles as snapshots of Sybil’s tomb in a poor light; cuttings of her own hair which was indistinguishable from Sybil’s; a New England sectional map with an inked-in cross, midway between two chaste towns, to mark the spot where D. and Sybil had stopped on October the twenty-third, in broad daylight, at a lenient motel, in a pink and brown forest; and, twice, a stuffed skunk.
Being as a conversationalist more voluble than explicit, she never could describe in full the theory of intervenient auras that she had somehow evolved. Fundamentally there was nothing particularly new about her private creed since it presupposed a fairly conventional hereafter, a silent solarium of immortal souls (spliced with mortal antecedents) whose main recreation consisted of periodical hoverings over the dear quick. The interesting point was a curious practical twist that Cynthia gave to her tame metaphysics. She was sure that her existence was influenced by all sorts of dead friends each of whom took turns in directing her fate much as if she were a stray kitten which a schoolgirl in passing gathers up, and presses to her cheek, and carefully puts down again, near some suburban hedge—to be stroked presently by another transient hand or carried off to a world of doors by some hospitable lady.
For a few hours, or for several days in a row, and sometimes recurrently, in an irregular series, for months or years, anything that happened to Cynthia, after a given person had died, would be, she said, in the manner and mood of that person. The event might be extraordinary, changing the course of one’s life; or it might be a string of minute incidents just sufficiently clear to stand out in relief against one’s usual day and then shading off into still vaguer trivia as the aura gradually faded. The influence might be good or bad; the main thing was that its source could be identified. It was like walking through a person’s soul, she said. I tried to argue that she might not always be able to determine the exact source since not everybody has a recognizable soul; that there are anonymous letters and Christmas presents which anybody might send; that, in fact, what Cynthia called “a usual day” might be itself a weak solution of mixed auras or simply the routine shift of a humdrum guardian angel. And what about God? Did or did not people who would resent any omnipotent dictator on earth look forward to one in heaven? And wars? What a dreadful idea—dead soldiers still fighting with living ones, or phantom armies trying to get at each other through the lives of crippled old men.
But Cynthia was above generalities as she was beyond logic. “Ah, that’s Paul,” she would say when the soup spitefully boiled over, or: “I guess good Betty Brown is dead” when she won a beautiful and very welcome vacuum cleaner in a charity lottery. And, with Jamesian meanderings that exasperated my French mind, she would go back to a time when Betty and Paul had not yet departed, and tell me of the showers of well-meant, but odd and quite unacceptable, bounties—beginning with an old purse that contained a check for three dollars which she picked up in the street and, of course, returned (to the aforesaid Betty Brown—this is where she first comes in—a decrepit colored woman hardly able to walk), and ending with an insulting proposal from an old beau of hers (this is where Paul comes in) to paint “straight” pictures of his house and family for a reasonable remuneration—all of which followed upon the demise of a certain Mrs. Page, a kindly but petty old party who had pestered her with bits of matter-of-fact advice since Cynthia had been a child.
Sybil’s personality, she said, had a rainbow edge as if a little out of focus. She said that had I known Sybil better I would have at once understood how Sybil-like was the aura of minor events which, in spells, had suffused her, Cynthia’s, existence after Sybil’s suicide. Ever since they had lost their mother they had intended to give up their Boston home and move to New York, where Cynthia’s paintings, they thought, would have a chance to be more widely admired; but the old home had clung to them with all its plush tentacles. Dead Sybil, however, had proceeded to separate the house from its view—a thing that affects fatally the sense of home. Right across the narrow street a building project had come into loud, ugly, scaffolded life. A pair of familiar poplars died that spring, turning to blond skeletons. Workmen came and broke up the warm-colored lovely old sidewalk that had a special violet sheen on wet April days and had echoed so memorably to the morning footsteps of museum-bound Mr. Lever, who upon retiring from business at sixty had devoted a full quarter of a century exclusively to the study of snails.
Speaking of old men, one should add that sometimes these posthumous auspices and interventions were in the nature of parody. Cynthia had been on friendly terms with an eccentric librarian called Porlock who in the last years of his dusty life had been engaged in examining old books for miraculous misprints such as the substitution of I for the second h in the word “hither.” Contrary to Cynthia, he cared nothing for the thrill of obscure predictions; all he sought was the freak itself, the chance that mimics choice, the flaw that looks like a flower; and Cynthia, a much more perverse amateur of misshapen or illicitly connected words, puns, logogriphs, and so on, had helped the poor crank to pursue a quest that in the light of the example she cited struck me as statistically insane. Anyway, she said, on the third day after his death she was reading a magazine and had just come across a quotation from an imperishable poem (that she, with other gullible readers, believed to have been really composed in a dream) when it dawned upon her that “Alph” was a prophetic sequence of the initial letters of Anna Livia Plurabelle (another sacred river running through, or rather around, yet another fake dream), while the additional h modestly stood, as a private signpost, for the word that had so hypnotized Mr. Porlock. And I wish I could recollect that novel or short story (by some contemporary writer, I believe) in which, unknown to its author, the first letters of the words in its last paragraph formed, as deciphered by Cynthia, a message from his dead mother.
5
I am sorry to say that not content with these ingenious fancies Cynthia showed a ridiculous fondness for spiritualism. I refused to accompany her to sittings in which paid mediums took part: I knew too much about that from other sources. I did consent, however, to attend little farces rigged up by Cynthia and her two poker-faced gentlemen friends of the printing shop. They were podgy, polite, and rather eerie old fellows, but I satisfied myself that they possessed considerable wit and culture. We sat down at a light little table, and crackling tremors started almost as soon as we laid our fingertips upon it. I was treated to an assortment of ghosts that rapped out their reports most readily though refusing to elucidate anything that I did not quite catch. Oscar Wilde came in and in rapid garbled French, with the usual anglicisms, obscurely accused Cynthia’s dead parents of what appeared in my jottings as “plagiatisme.” A brisk spirit contributed the unsolicited information that he, John Moore, and his brother Bill had been coal miners in Colorado and had perished in an avalanche at “Crested Beauty” in January 1883. Frederic Myers, an old hand at the game, hammered out a piece of verse (oddly resembling Cynthia’s own fugitive productions) which in part reads in my notes:
What is this—a conjuror’s rabbit,
Or a flawy but genuine gleam—
Which can check the perilous habit
And dispel the dolorous dream?
Finally, with a great crash and all kinds of shudderings and jiglike movements on the part of the table, Leo Tolstoy visited our little group and, when asked to identify himself by specific traits of terrene habitation, launched upon a complex description of what seemed to be some Russian type of architectural woodwork (“figures on boards—man, horse, cock, man, horse, cock”), all of which was difficult to take down, hard to understand, and impossible to verify.
&n
bsp; I attended two or three other sittings which were even sillier but I must confess that I preferred the childish entertainment they afforded and the cider we drank (Podgy and Pudgy were teetotalers) to Cynthia’s awful house parties.
She gave them at the Wheelers’ nice flat next door—the sort of arrangement dear to her centrifugal nature, but then, of course, her own living room always looked like a dirty old palette. Following a barbaric, unhygienic, and adulterous custom, the guests’ coats, still warm on the inside, were carried by quiet, baldish Bob Wheeler into the sanctity of a tidy bedroom and heaped on the conjugal bed. It was also he who poured out the drinks, which were passed around by the young photographer while Cynthia and Mrs. Wheeler took care of the canapés.
A late arrival had the impression of lots of loud people unnecessarily grouped within a smoke-blue space between two mirrors gorged with reflections. Because, I suppose, Cynthia wished to be the youngest in the room, the women she used to invite, married or single, were, at the best, in their precarious forties; some of them would bring from their homes, in dark taxis, intact vestiges of good looks, which, however, they lost as the party progressed. It has always amazed me the ability sociable weekend revelers have of finding almost at once, by a purely empiric but very precise method, a common denominator of drunkenness, to which everybody loyally sticks before descending, all together, to the next level. The rich friendliness of the matrons was marked by tomboyish overtones, while the fixed inward look of amiably tight men was like a sacrilegious parody of pregnancy. Although some of the guests were connected in one way or another with the arts, there was no inspired talk, no wreathed, elbow-propped heads, and of course no flute girls. From some vantage point where she had been sitting in a stranded mermaid pose on the pale carpet with one or two younger fellows, Cynthia, her face varnished with a film of beaming sweat, would creep up on her knees, a proffered plate of nuts in one hand, and crisply tap with the other the athletic leg of Cochran or Corcoran, an art dealer, ensconced, on a pearl-gray sofa, between two flushed, happily disintegrating ladies.
At a further stage there would come spurts of more riotous gaiety. Corcoran or Coransky would grab Cynthia or some other wandering woman by the shoulder and lead her into a corner to confront her with a grinning imbroglio of private jokes and rumors, whereupon, with a laugh and a toss of her head, she would break away. And still later there would be flurries of intersexual chumminess, jocular reconciliations, a bare fleshy arm flung around another woman’s husband (he standing very upright in the midst of a swaying room), or a sudden rush of flirtatious anger, of clumsy pursuit—and the quiet half-smile of Bob Wheeler picking up glasses that grew like mushrooms in the shade of chairs.
After one last party of that sort, I wrote Cynthia a perfectly harmless and, on the whole, well-meant note, in which I poked a little Latin fun at some of her guests. I also apologized for not having touched her whiskey, saying that as a Frenchman I preferred the grape to the grain. A few days later I met her on the steps of the Public Library, in the broken sun, under a weak cloudburst, opening her amber umbrella, struggling with a couple of armpitted books (of which I relieved her for a moment), Footfalls on the Boundary of Another World by Robert Dale Owen, and something on “Spiritualism and Christianity”; when, suddenly, with no provocation on my part, she blazed out at me with vulgar vehemence, using poisonous words, saying—through pear-shaped drops of sparse rain—that I was a prig and a snob; that I only saw the gestures and disguises of people; that Corcoran had rescued from drowning, in two different oceans, two men—by an irrelevant coincidence both called Corcoran; that romping and screeching Joan Winter had a little girl doomed to grow completely blind in a few months; and that the woman in green with the freckled chest whom I had snubbed in some way or other had written a national best-seller in 1932. Strange Cynthia! I had been told she could be thunderously rude to people whom she liked and respected; one had, however, to draw the line somewhere and since I had by then sufficiently studied her interesting auras and other odds and ids, I decided to stop seeing her altogether.
6
The night D. informed me of Cynthia’s death I returned after eleven to the two-story house I shared, in horizontal section, with an emeritus professor’s widow. Upon reaching the porch I looked with the apprehension of solitude at the two kinds of darkness in the two rows of windows: the darkness of absence and the darkness of sleep.
I could do something about the first but could not duplicate the second. My bed gave me no sense of safety; its springs only made my nerves bounce. I plunged into Shakespeare’s sonnets—and found myself idiotically checking the first letters of the lines to see what sacramental words they might form. I got FATE (LXX), ATOM (CXX), and, twice, TAFT (LXXXVIII, CXXXI). Every now and then I would glance around to see how the objects in my room were behaving. It was strange to think that if bombs began to fall I would feel little more than a gambler’s excitement (and a great deal of earthy relief) whereas my heart would burst if a certain suspiciously tense-looking little bottle on yonder shelf moved a fraction of an inch to one side. The silence, too, was suspiciously compact as if deliberately forming a black backdrop for the nerve flash caused by any small sound of unknown origin. All traffic was dead. In vain did I pray for the groan of a truck up Perkins Street. The woman above who used to drive me crazy by the booming thuds occasioned by what seemed monstrous feet of stone (actually, in diurnal life, she was a small dumpy creature resembling a mummified guinea pig) would have earned my blessings had she now trudged to her bathroom. I put out my light and cleared my throat several times so as to be responsible for at least that sound. I thumbed a mental ride with a very remote automobile but it dropped me before I had a chance to doze off. Presently a crackle (due, I hoped, to a discarded and crushed sheet of paper opening like a mean, stubborn night flower) started and stopped in the wastepaper basket, and my bed table responded with a little click. It would have been just like Cynthia to put on right then a cheap poltergeist show.
I decided to fight Cynthia. I reviewed in thought the modern era of raps and apparitions, beginning with the knockings of 1848, at the hamlet of Hydesville, New York, and ending with grotesque phenomena at Cambridge, Massachusetts; I evoked the ankle bones and other anatomical castanets of the Fox sisters (as described by the sages of the University of Buffalo); the mysteriously uniform type of delicate adolescent in bleak Epworth or Tedworth, radiating the same disturbances as in old Peru; solemn Victorian orgies with roses falling and accordions floating to the strains of sacred music; professional impostors regurgitating moist cheesecloth; Mr. Duncan, a lady medium’s dignified husband, who, when asked if he would submit to a search, excused himself on the ground of soiled underwear; old Alfred Russel Wallace, the naive naturalist, refusing to believe that the white form with bare feet and unperforated earlobes before him, at a private pandemonium in Boston, could be prim Miss Cook whom he had just seen asleep, in her curtained corner, all dressed in black, wearing laced-up boots and earrings; two other investigators, small, puny, but reasonably intelligent and active men, closely clinging with arms and legs about Eusapia, a large, plump elderly female reeking of garlic, who still managed to fool them; and the skeptical and embarrassed magician, instructed by charming young Margery’s “control” not to get lost in the bathrobe’s lining but to follow up the left stocking until he reached the bare thigh—upon the warm skin of which he felt a “teleplastic” mass that appeared to the touch uncommonly like cold, uncooked liver.
7
I was appealing to flesh, and the corruption of flesh, to refute and defeat the possible persistence of discarnate life. Alas, these conjurations only enhanced my fear of Cynthia’s phantom. Atavistic peace came with dawn, and when I slipped into sleep the sun through the tawny window shades penetrated a dream that somehow was full of Cynthia.
This was disappointing. Secure in the fortress of daylight, I said to myself that I had expected more. She, a painter of glass-bright minutiae—and now so vague! I lay in
bed, thinking my dream over and listening to the sparrows outside: Who knows, if recorded and then run backward, those bird sounds might not become human speech, voiced words, just as the latter become a twitter when reversed? I set myself to reread my dream—backward, diagonally, up, down—trying hard to unravel something Cynthia-like in it, something strange and suggestive that must be there.
I could isolate, consciously, little. Everything seemed blurred, yellow-clouded, yielding nothing tangible. Her inept acrostics, maudlin evasions, theopathies—every recollection formed ripples of mysterious meaning. Everything seemed yellowly blurred, illusive, lost.
LANCE
1
THE name of the planet, presuming it has already received one, is immaterial. At its most favorable opposition, it may very well be separated from the earth by only as many miles as there are years between last Friday and the rise of the Himalayas—a million times the reader’s average age. In the telescopic field of one’s fancy, through the prism of one’s tears, any particularities it presents should be no more striking than those of existing planets. A rosy globe, marbled with dusky blotches, it is one of the countless objects diligently revolving in the infinite and gratuitous awfulness of fluid space.
My planet’s maria (which are not seas) and its lacus (which are not lakes) have also, let us suppose, received names; some less jejune, perhaps, than those of garden roses; others, more pointless than the surnames of their observers (for, to take actual cases, that an astronomer should have been called Lampland is as marvelous as that an entomologist should have been called Krautwurm); but most of them of so antique a style as to vie in sonorous and corrupt enchantment with place names pertaining to romances of chivalry.
The Stories of Vladimir Nabokov Page 81