by Ann Beattie
We should have some handouts for our special tour. Some inspirational thoughts from the Founding Fathers, mimeographed? Maybe an inspirational saying from Jefferson or Washington? Some people get cuff links or other things from your father’s desk drawer, but this group won’t be going in, so maybe we should have a nice little memento for them. Maybe a letter opener with the presidential seal and inside the envelope a few smart things said by Lincoln, or General Eisenhower. Maybe it would be good to remind them of a few things men of distinction thought to say, rather than their spending their time listening to Bob Dylan.
They say he took his name from the poet. Well, I ditched Thelma. When you think about it, so many people changed their names as a prelude to living their lives another way.
In what book? That’s interesting, I didn’t realize the Great Gatsby made up his last name. Well, there you go. Might have been a little immodest if he came up with “Great,” though. Oh, I’m being silly, I know. I’m just so happy to have my daughters curled up with me here, and not to be on an airplane. It makes me very proud to know you’ll be conducting tours of the White House tomorrow. You be sure to let your father know how things go, but don’t tell him anything that’s troublesome, because he needs a bit of cheering up. Not that we’ve ever told him every little thing that’s gone wrong. It’s life, so things go wrong!
Well, for one thing, that book I read to you when you were little. A Child’s Christmas in Wales. You loved it. Maybe not more than The Night Before Christmas, but your eyes got big as saucers and you just loved that book.
I’m keeping you up. They’ll have finished vacuuming by now, my loves, and you should get some sleep. We have more noise and interruptions to put up with than people could imagine, don’t we? Wouldn’t it be grand to open the windows and hear the ocean or to hear the birds singing in the trees? I saw the biggest crow on the lawn the other day. Just one, all alone. I watched for a while, expecting a whole bunch of them to land, but the crow just went pecking along all by itself, and then I had to go to a meeting.
That color is beautiful on you, Dolly. You should wear it more often. I don’t think it is a strange color, though the pastel nightgown has an even softer hue, doesn’t it? It’s beautiful, and so are you. Good night, Dolly.
A Home Movie Is Made About Mrs. Nixon in China
“Well, all right, I’ll try. One of those guys from NBC with a long name I can’t remember . . .”
“Fred Flamenhaft.”
“That’s it. Well, Fred came along to the dinner at the Peking Roast Duck Restaurant, and after the dinner there were quite a few toasts.”
“Mao-tai brandy.”
“That’s right. You certainly read the information I gave you carefully, Julie. I just held the drink to my lips. I didn’t want to give the appearance of not toasting.”
“You’d never do that.”
“Of course I wouldn’t. Well, Fred wasn’t the first to give a toast, he was pretty much the last, and when his turn came, you know what he did? He toasted the duck! He said, ‘I don’t give a damn what you all said, I’ve just had the best meal of my life, and I toast the duck!’ It gave us a good laugh.”
“You don’t think President Nixon might have spoken to him later about cursing?”
“Oh, Dick has a fine sense of humor. He knew it was all good fun.”
“Flamenhaft is a funny name, isn’t it?”
“People can’t help the names they’re born with. If he’d decided to call himself that, that would be another matter. Are we about done?”
“I’d like to ask just one or two more questions. As I mentioned, this will be edited, and it will have your approval.”
“All right. What else?”
“What you should do when you’re traveling and you’re in another country and you’re served something you can’t eat. Like something slimy.”
“I grew up on a farm, remember. I’m not a vegetarian or someone who won’t try most things once.”
“What if it was really repulsive, like some gray, mushy fish?”
“Julie, as I’ve taught you girls, you delicately push it a bit to the side and eat the other things.”
“Watching the acupuncture made you squeamish, didn’t it?”
“Yes, it did. But the needles didn’t leave any scars, I noticed. And that is their way. They’ve done this for centuries. I think we’ve talked enough now.”
“This is going to be the most impressive home movie project ever: interviews with all the important people who went with Daddy to China.”
“I’m not going to approve some of these questions and answers, you know. Now I would appreciate it if you could get that camera out of my face.”
Mrs. Nixon Gets the Giggles
I thought Lady Bird would be the one to cut up, but that young man was so proper, I just couldn’t help myself. “We’d like to have tea with the Queen,” I said, and of course he couldn’t comply. There was no way he could. He just didn’t know what to do. What if the Queen had been there, and she’d said, “Yes, of course, one does so wish to see Pat and Lady Bird.” I don’t suppose she would have said it that way, she’d say “Mrs. Nixon” and “Mrs. Johnson,” and her butler would have said, “Yes, mum, most certainly, mum.” Or is “mum” just the Queen Mother? I need a briefing about the English royal family. We could call Henry in. Henry is a man who dearly loves an important late-night briefing. Ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha.
Cathedrals
“From the moment of taking office, when he promised, in his first Inaugural Address, to build ‘a great cathedral of the spirit’ and unify the nation, to the spring of 1973, when he had Senate Minority Leader Hugh Scott announce on his behalf, ‘We have nothing to hide,’ he filled the air with empty and intentionally misleading phrases—phrases that in both tone and content were without relation either to each other or to the actions of his Administration,” writes Jonathan Schell, in The Time of Illusion.
Nixon did a lot of his own speech writing, but it’s equally probable he was reading the words of a speechwriter when he made his metaphor about the “cathedral of the spirit.” That doesn’t sound much like RN to me. The idea of citizens being part of a group—even a group that met in church—would have set off his paranoia. Also, he didn’t tend to think in terms of “the spirit.” In any case, Schell jumps on him for this phrase.
Years later, Raymond Carver wrote one of his most famous stories, “Cathedral.” It, too, is about a cathedral of the spirit, but Carver was one for understatement. The word cathedral signifies well enough. Say the word to a minister, and he or she would probably conjure up the architectural building. Say it to the American public, and they would probably hear it as mere fancy rhetoric. Say it to a writer, and there’s every chance they’d conjure up Carver’s story.
The story concerns an unusual but plausible event: one evening, a woman whose friend is blind (absent for years, though she has kept in touch with him) finds out he is going to visit. She introduces him to her husband.
Carver depends on certain things. Among them: our own uneasiness upon meeting a blind man. He must also realize that by the time he writes “Cathedral,” late in his career, his readers are educated to the way he inflects a story, and to the way subtext almost becomes text itself: characters speak to keep emotions at bay; subtext fights to rise to the surface and wreak havoc. Metaphorically, there’s often a wild animal in Carver, and the cage that contains it never seems very secure.
The wife turns on a recording sent from the blind man to her, but Carver sees to it that just when the man’s words might reveal something important, his sentence does not conclude. Rather, they all stop listening. It’s a cliff-hanger, and the readers are left at the edge. What kind of story has the wife previously told the blind man about her husband? We don’t know, and if the husband has curiosity (rather than dread), he decides that not knowing is better than asking the question.
As the story progresses, people seem to relax—or, at least,
have the opportunity to do that. The wife leaves the two men alone, and when she reenters the room, she promptly announces she’s going to fall asleep, and does. When her robe falls in a way that reveals her body, the husband at first reaches out to close it, then, instead, flips it open. Carver allows the husband to literally finger text and subtext in this gesture. As time passes, the TV is turned on: “Something about the church and the Middle Ages . . . was on the TV. Not your run-of-the-mill TV fare. I wanted to watch something else. I turned to the other channels. But there was nothing on them, either. So I turned back to the first channel and apologized.” The blind man says it’s fine: “It won’t hurt me to learn something tonight. I got ears,” he says.
The blind man can’t envision a cathedral. He knows about how they’re built. He knows the factual things, but they don’t excite his imagination. It is his idea, finally, that his host draw a cathedral on a piece of paper. The paper selected is utilitarian: large, because it’s a grocery bag, but not exactly something to accommodate a work of art. This is the world of Raymond Carver, though, so no one is an artist. Neither is an artistic depiction necessary; what’s necessary is that the two men bond as the husband attempts to draw, for the first time (his own house metamorphoses into a cathedral), and the blind man begins to learn something meaningful. The TV show continues.
“I said, ‘They’re statues carved to look like monsters. Now I guess they’re in Italy. Yeah, they’re in Italy. There’s paintings on the walls of this one church.’”
“‘Are those fresco paintings, bub?’ he asked, and he sipped from his drink.
“I reached for my glass, but it was empty. I tried to remember what I could remember. ‘You’re asking me are those frescoes?’ I said. ‘That’s a good question. I don’t know.’”
The notion of “frescoes” is a good one. It tells the reader the blind man has a certain level of sophistication. Perhaps also that he’s trying to get the upper hand with his guide. It introduces an important concept: frescoes are painted directly on a wall of wet plaster—quickly, with the artist having almost no ability to redo anything. The process is very tactile, it happens quickly, and the artwork has a freshness that painting done over a long period of time may lack. One subtext of this question (along with testing the husband’s knowledge and sophistication) is: is the painting spontaneous? Because the husband and the blind man are two people who are clearly plodding along, dope smoking or not. They are both going through the motions. Arduously. On television (which only the husband can see), we realize that, unless the husband has been told (his sense of hearing matters here, too), he isn’t able to say whether he’s looking at frescoes or at oil paintings, a more drawn out medium. The question, though, and the issues it raises, hangs in the air. When the husband metamorphoses into an artist of sorts, he’s speaking words about cathedrals, but he’s also drawing—creating them. He finds his efforts inadequate: “I’m just no good at it.” In part because he admits some vulnerability (lack of talent), but also because spontaneity is about to burst forth finally, the blind man asks a question: is his host “in any way religious”? The answer: “I guess I don’t believe in it. In anything. Sometimes it’s hard. You know what I’m saying?” Notice the echo of it (“I’m just no good at it” and “I guess I don’t believe in it”). It means a lot—so much that the shorthand is deliberately used to gloss over the deep significance of an it that is so vast, it is impossible to define. Carver uses words judiciously. One could think that he had a small vocabulary—or that his characters do, and he’s trying to represent them faithfully. The meaning of a word as vague and seemingly minor as it shifts in Carver. There’s not much that doesn’t shift like sand in a windstorm in a Carver story—or become a sinkhole.
There’s a sense of exhilaration near the end of “Cathedral.” The tables are turned, and the blind man, Robert, is instructing the husband—and also telling the husband to keep his eyes closed. His hands atop the husband’s, they have been drawing their cathedral. Significantly, the husband does not want to open his eyes to look at the finished drawing. The suggestion is that what is seen might be (must be?) either inadequate or, however complete, still lacking. Paradoxically, in putting himself in the blind man’s position and keeping his eyes closed, the husband sees more and more inwardly, until—after this night of having created facades—he says: “But I didn’t feel like I was inside anything.” Earlier, of course, he’s been in his routine. He’s been inside his house, inside his life, watching TV. But through imagination, he’s escaped. Talk hasn’t done it. Neither has smoking pot. He concludes, in the last line of the story—which is quintessentially Carveresque in stating the inexpressible in a banal way, while making the reader infer the layers of underlying inexpressible complexities. The character says: “It’s really something.”
The story is also about creation—about fiction, about being an artist. It’s easy to see the husband and the blind man as opposites, yet opposites that inform one another. The yearning is sexual, and it’s also aesthetic, and it’s also a moment escaped into, we don’t know for how long. The story is a paradigm of the artistic process. Something greater than the will of the two men is taking its course (Beckett); something is happening, but (as Bob Dylan sings, sneeringly) “you don’t know what it is, do you, Mr. Jones?” The story is full of religious undertones, as is much of Carver’s writing. Art aspires to the sublime. In this case, as with Flannery O’Connor’s Misfit, the most unlikely character is, ironically, the one who provokes the reader’s deepest (most spiritual) belief.
Something of grandeur—something vast and noble and beautiful—is being invoked if we hear about a “cathedral of the spirit,” as if the spirit can be touched and built upon, as if something new and important will exist, something we can point to, if only we will envision it, if only (like Peter Pan) we believe. Lyndon Johnson was a bit vague when he spoke emphatically of “a great society”—and anyway, he said we already had it: we just had to recognize it. Kennedy had Camelot, but that was in-house talk that was eventually heard by others, an inflated sense of personal nobility. Nixon and the cathedral of the spirit . . . it’s doubtful it was something he truly believed. It just sounded good, and he was a man who liked formality and for things to be substantial—which was synonymous with impressive. He cared very much about how things looked.
Mrs. Nixon didn’t think metaphorically. She did, however, think for herself—even if she thought well within cultural conditioning. Imagine that RN asked her to conjure up a “great cathedral of the spirit” that would unify a divided, chaotic America. To her, a “great cathedral of the spirit” would probably be quite abstract. She seemed to live in the here and now—or tried to. At least, she tried very hard not to live in the past. Imaginative speculation? Mrs. Nixon? There wouldn’t have been much sense in asking her opinion on that.
Still, she was not without the ability to imagine. She accompanied RN on his trip to Russia, and RN himself wrote in his diary: “As we looked at the sea, there was a three-quarter moon. Pat said that since she was a very little girl, when she looked at the moon, she didn’t see a man in the moon or an old lady in the moon—always the American flag. This, of course, was years before anybody ever thought of a man actually being on the moon or an American flag being there. She pointed it out to me and, sure enough, I could see an American flag in the moon. Of course, you can see in the moon whatever you want to see.”
Together, the Nixons might have had a moment not unlike the one in the Carver story where the characters sense that something ineffable eludes them. RN seems unimpressed when he is invited to share his wife’s version of what can be seen on the moon; he could have wondered at the fact that two Americans in Russia saw their flag plastered across the moon, or that neither of them was moved to see a man there, as others did. RN misses a chance to share some uncertainty or humility with his wife; they avoid the subtly life-changing intuition that Carver’s two men share. Using a cliché to dismiss his wife’s imagination, he reinfo
rces his pride in his hardheaded common sense. We see RN bluntly cutting off a realization that “it’s really something.” (On seeing Hangchow, Nixon called on what might have been his highest praise, as close as he got to true wonder: “It looks like a postcard with those mountains in the background.”)
What Did Mrs. Nixon Think of Mr. Nixon?
That’s the question. She did not want a public life, so, beyond a certain point, she didn’t want RN to be involved in politics at all. He reentered the race despite her desires.
Consider this: She was an actress. I’m not suggesting that, because she appeared as Daphne Martin in the play The Dark Tower, her character described as “a tall, dark, sullen beauty of twenty,” Mrs. Nixon glided onstage at the Republican National Convention with equal ease, being—as I would describe her—“a woman of average height, light-haired, attractive but no beauty, in her forties.” But, because of training, she was accustomed to ignoring stage fright and simply proceeding. Also, the plays she had acted in or was aware of, such as The Glass Menagerie, had some things in common, and it seems reasonable to assume the play’s ideas affected her, as well. Our literature defines us, and, in those days, I think plays were generally considered more important than they are now.
Mrs. Nixon also had a role in the movie version of Becky Sharp (though she was cut out of the final version). Becky Sharp was published with the subtitle “A Novel Without a Hero”—a common concept now, but less usual when Thackeray published his novel. Becky’s rise in society has to do with climbing the social ladder, marrying well, traveling. She is primarily interested in being a well-off, notable person. (There is still some debate about whether Thackeray wanted to suggest she actually murdered another character: an illustration done by the author shows her behind a curtain with a vial of poison and uses the word “Clytemnestra,” though this was later deleted.) Again: murder, or intimations of murder. A woman having to work within social constraints, but willing to do any number of things, go any number of places, to get ahead. Becky Sharp has entered the vocabulary to describe a particular kind of ambitious woman, the same way Kato Kaelin awakened people to the fact that there are people who are not exactly servants, who have vaguely defined roles in wealthy people’s lives while sponging off them.