The living-room curtains are of heavy Swedish linen: life-sized thistles, printed in light blue and charcoal grey, on a white background. They are very beautiful (and so must the thistles in Sweden be) and they also have an emotional context; Margaret made them, and, when they did not hang properly, wept, and ripped them apart and remade them, and now they do hang properly. The bedroom curtains are of a soft ivory material, with seashells — cowries, scallops, sea urchins and sand dollars, turbinates, auriculae — drawn on them in brown indelible ink, with a flowpen. The bedroom floor is black, the walls are sandalwood, the woodwork is white. On the wall above the double bed is a mural in two sections — a hexagonal tower in an imaginary kingdom that resembles Persia. Children are flying kites from the roof. Inside the tower, another child is playing on a musical instrument that is cousin to the lute. The paperhanger hung the panels the wrong way, so the tower is even stranger architecturally than the artist intended. The parapet encloses outer instead of inner space — like a man talking to somebody who is standing behind him, facing the other way. And the fish-shaped kite, where is that being flown from? And by whom? Some other children are flying kites from the roof of the tower next to this one, perhaps, only there wasn’t room to show it. (Lying in bed I often, in my mind, correct the paperhanger’s mistake.) Next to the mural there is a projection made by a chimney that conducts sounds from the house next door. Or rather, a single sound: a baby crying in the night. The brownstone next door is not divided into apartments, and so much money has been spent on the outside (blue shutters, fresh paint, stucco, polished brass, etc.) that, for this neighborhood, the effect of chic is overdone. We assume there is a nurse, but nobody ever does anything when the baby cries, and the sound that comes through the wall is unbearably sad. (Unable to stand it any longer, Margaret gets up and goes through the brick chimney and picks the baby up and brings it back into our bedroom and rocks it.)
The double chest of drawers came from Macy’s unfinished-furniture department, and Margaret gave it nine coats of enamel before she was satisfied with the way it looked. The black lacquered dining table (we have two dining tables and no dining room) is used as a desk. Over it hangs a large engraving of the Spanish Steps, which, two years ago, in the summer of 1948, for a brief time belonged to us — flower stands, big umbrellas, Bernini fountain, English Tea Room, Keats museum, children with no conception of bedtime, everything. At night we drape our clothes over two cheap rush-bottom chairs, from Italy. The mahogany dressing table, with an oval mirror in a lyre-shaped frame and turned legs such as one sees in English furniture of the late seventeenth century, came by express from the West Coast. The express company delivered it to the sidewalk in front of the building, and, notified by telephone that this was about to happen, I rushed home from the office to supervise the uncrating. As I stepped from the taxi, I saw the expressman with the mirror and half the lyre in his huge hands. He was looking at it thoughtfully. The rest of the dressing table was ten feet away, by the entrance to the building. The break does not show unless you look closely. And most old furniture has been mended at one time or another.
When we were shown the apartment for the first time, the outgoing tenant let us in and stood by pleasantly while we tried to imagine what the place would look like if it were not so crowded with his furniture. It was hardly possible to take a step for oak tables and chests and sofas and armoires and armchairs. Those ancestral portraits and Italian landscapes in heavy gilt frames that there was no room for on the walls were leaning against the furniture. To get from one room to the next we had to step over pyramids of books and scientific journals. An inventory of the miscellaneous objects and musical instruments in the living room would have taken days and been full of surprises. (Why did he keep that large soup tureen on the floor?) We thought at first he was packing, but he was not; this was the way he lived. If we had asked him to make a place in his life for us too, he would have. He was a very nice man. The disorder was dignified and somehow enviable, and the overfurnished apartment so remote from what went on clown below in the street that it was like a cave deep in the forest.
Now it is underfurnished (we have just barely enough money to manage a small one-story house in the country and this apartment in town), instead, and all light and air. The living-room walls are a pale blue that changes according to the light and the time of day and the season of the year and the color of the sky. The walls are hardly there. The furniture is half old and half new, and there isn’t much of it, considering the size of the room: a box couch, a cabinet with sliding doors, a small painted bookcase, an easy chair with its ottoman, a round fruitwood side table with long, thin, spidery legs and a glass tray that fits over the top, the table and chairs we eat on, a lowboy that serves as a sideboard, another chair, a wobbly tea cart, and a canvas stool. The couch has a high wooden back, L-shaped, painted black, with a thin gold line. It was made for an old house in Dover, New Hampshire, and after I don’t know how many generations found itself in Minneapolis. I first saw it in Margaret’s mother’s bedroom in Seattle, and now it: is here. It took two big men and a lot of patient maneuvering to get it four times past the turning of the stairs. The shawl that is draped over the back and the large tin tray that serves as a coffee table both came from Mexico — a country I do not regard as romantic, even though we have never been there. The lowboy made the trip from the West Coast with the dressing table, and one of its Chippendale legs got broken in transit, or by that same impetuous expressman. I suppose it is a hundred and fifty or two hundred years old. The man in the furniture-repair shop, after considering the broken leg, asked if we wanted the lowboy refinished. I asked why, and he said, “Because it’s been painted.” We looked, and sure enough it had. “They did that sometimes,” he said. “It’s painted to simulate mahogany.” I asked what was under the paint, and he picked up a chisel and took a delicate gouge out of the underside. This time it was his turn to be surprised. “It’s mahogany,” he announced. The lowboy was painted to simulate what it actually was, it looks like what it is, so we let it be.
The gateleg table we eat on has four legs instead of the usual six. When the sides are extended, it looks as if the cabinetmaker had been studying Euclid’s geometry. Margaret found it in an antique shop in Putnam Valley, and asked me to come look at it. I got out of the car and went in and saw the table and knew I could not live without it. The antique dealer said the table had an interesting history that she wasn’t free to tell us. (Was it a real Hepplewhite and not just in the style of? Was it stolen?) She was a very old woman and lived alone. The shop was lined with bookshelves, and the books on the shelves and lying around on the tables were so uncommon I had trouble keeping my hands off them. They were not for sale, the old woman said. They had belonged to her husband, and she was keeping them for her grandchildren; she herself read nothing but murder mysteries.
Margaret wanted the table, but she wanted also to talk about whether or not we could afford it. I can always afford what I dearly want — or rather, when I want something very much I would rather not think about whether or not we can afford it. As we drove away without the table, I said coldly, “We won’t talk about it.” As if she were the kind of wife she isn’t. And we did talk about it, all the way home. The next day we were back, nobody had bought the table in the meantime, I wrote out a check for two hundred dollars, and the old woman gave us a big rag rug to wrap around the marvel so it wouldn’t be damaged on the drive home. Also heavy twine to tie it with. But then I asked for a knife, and this upset her, to my astonishment. I looked carefully and saw that the expression in her faded blue eyes was terror: She thought I wanted a knife so I could murder her and make off with the table and the check. It is disquieting to have one’s intentions so misjudged. (Am I a murderer? And is it usual for the murderer to ask for his weapon?) “A pair of scissors will do just as well,” I said, and the color came back into her face.
The rug the table now stands on is only slightly larger than the tabletop. It is threadbare, b
ut we cannot find another like it. For some reason, it is the last yellowish beige rug ever made. People with no children have perfectionism to fall back on.
The space between the fireplace and the door to the kitchen is filled by shelves and a shallow cupboard. The tea cart is kept under the stairs. Then comes the door to the coat closet, the inside of which is painted a particularly beautiful shade of Chinese red, and the door to the hall. On the sliding-door cabinet (we have turned the corner now and are moving toward the windows) there is a pottery lamp with a wide perforated grey paper shade and such a long thin neck that it seems to be trying to turn into a crane. Also a record player that plays only 78s and has to be wound after every record. The oil painting over the couch is of a rock quarry in Maine, and we have discovered that it changes according to the time of day and the color of the sky. It is particularly alive after a snowfall.
HERE we live, in our modest perfectionism, with two black cats. The one on the mantelpiece is Bastet, the Egyptian goddess of love and joy. The other is under the impression that she is our child. This is our fault, of course, not hers. Around her neck she wears a scarlet ribbon, or sometimes a turquoise ribbon, or a collar with little bells. Her toys dangle from the tea cart, her kitty litter is in a pan beside the bathtub, and she sleeps on the foot of our bed or curled against the back of Margaret’s knees. When she is bored she asks us to remove a piece of the cardboard barricade so she can go tippeting down the stairs and pay a call on the landlord and his wife, Mr. and Mrs. Holmes, who Uve in the garden apartment and have the rear half of the second floor, with an inside stairs, so they really do go upstairs to bed. The front part of the second floor is the pied-à-terre of the artist who designed the wallpaper mural of the children flying kites from a hexagonal tower in an imaginary kingdom that resembles Persia. It is through the artist’s influence (Mr. Holmes is intimidated by her) that we managed to get our rent-controlled apartment, for which we pay a hundred and thirteen dollars and some odd cents. The landlord wishes we paid more, and Mr. and Mrs. Venable, who live under us, wish we’d get a larger rug for the living room. Their bedroom is on the back, and Margaret’s heels crossing the ceiling at night keep them awake. Also, in the early morning the Egyptian goddess leaves our bed and chases wooden spools and glass marbles from one end of the living room to the other. The Venables have mentioned this subject of the larger rug to the landlord and he has mentioned it to us. We do nothing about it, except that Margaret puts the spools and marbles out of Floribunda’s reach when we go to bed at night, and walks around in her stocking feet after ten o’clock. Some day, when we are kept awake by footsteps crossing our bedroom ceiling, hammering, furniture being moved, and other idiot noises, we will remember the Venables and wish we had been more considerate.
The Venables leave their door open too, and on our way up the stairs I look back over my shoulder and see chintz-covered chairs and Oriental rugs and the lamplight falling discreetly on an Early American this and an Old English that. (No children here, either; Mrs. Venable works in a decorator’s shop.) Mrs. Pickering, third floor, keeps her door closed. She is a sweet-faced woman who smiles when we meet her on the stairs. She has a grown son and daughter who come to see her regularly, but her life isn’t the same as when they were growing up and Mr. Pickering was alive. (Did she tell us this or have I invented it?) If we met her anywhere but on the stairs we would have racked our brains to find something to say to her. The Holmeses’ furniture is nondescript but comfortable. Mrs. Holmes has lovely brown eyes and the voice that goes with them, and it is no wonder that Floribunda likes to sit on her lap. He wants everybody to be happy, which is not exactly the way to be happy yourself, and he isn’t. If we all paid a little more rent, it would make him happier, but we don’t feel like it, any of us.
I am happy because we are in town: I don’t have to commute in bad weather. I can walk to the office. And after the theater we jump in a cab and are home in five minutes. I stand at the front window listening to the weather report. It is snowing in Westchester, and the driving conditions are very bad. In Thirty-sixth Street it is raining. The middle-aged man who lives on the top floor of the brownstone directly across from us is in the habit of posing at the window with a curtain partly wrapped around his naked body. He keeps guppies or goldfish in a lighted tank, spends the whole day in a kimono ironing, and at odd moments goes to the front window and acts out somebody’s sexual dream. If I could only marry him off to the old woman who goes through the trash baskets on Lexington Avenue, talking to herself. What pleasure she would have in showing him the things she has brought home in her string bag — treasures whose value nobody else realizes. And what satisfaction to him it would be to wrap himself in a curtain just for her.
The view to the south is cut off by a big apartment building on Thirty-fifth Street. The only one. If it were not there (I spend a good deal of time demolishing it, with my bare hands) we would have the whole of the sky to look at. Because I have not looked carefully enough at the expression in Margaret’s eyes, I go on thinking that she is happy too. When I met her she was working in a publishing house. Shortly after we decided to get married she was offered a job with the Partisan Review. If she had taken it, it would have meant commuting with me or even commuting at different hours from when I did. When I was a little boy and came home from school and called out, “Is anybody home?” somebody nearly always was. I took it for granted that the same thing would be true when I married. We didn’t talk about it, and should have. I didn’t understand that in her mind it was the chance of a fulfilling experience. Because she saw that I could not even imagine her saying yes, she said no, and turned her attention to learning how to cook and keep house. If we had had children right away it would have been different; but then if we had had children we wouldn’t have been living on the top floor of a brownstone on Thirty-sixth Street.
The days in town are long and empty for her. The telephone doesn’t ring anything like as often as it does when we are in the country. There Hester Gale comes across the road to see how Margaret is, or because she is out of cake flour, and they have coffee together. Margaret sews with Olivia Bingham. There are conversations in the supermarket. And miles of woods to walk in. Old Mrs. Delano, whose front door on Thirty-sixth Street is ten feet west of ours, is no help whatever. Though she knows Margaret’s Aunt Caroline, she doesn’t know that Margaret is her niece, or even that she exists, probably, and Margaret has no intention of telling her. Any more than she has any intention of telling me that in this place where I am so happy she feels like a prisoner much of the time.
She is accustomed to space, to a part of the country where there is more room than people and buildings to occupy it. In her childhood she woke up in the morning in a big house set on a wide lawn, with towering pine trees behind it, and a copper beech as big as two brownstones, and a snow-capped mountain that mysteriously comes and goes, like an idea in the mind. Every afternoon after school she went cantering through the trees on horseback. Now she is confined to two rooms — the kitchen cannot be called a room; it is hardly bigger than a handkerchief — and these two rooms are not enough. This is a secret she manages to keep from me so I can go on being happy.
There is another secret that cannot be kept from me because, with her head in a frame made by my head, arms, and shoulder, I know when she weeps. She weeps because her period was five days late and she thought something had happened that she now knows is not going to happen. The child is there, and could just as well as not decide to come to us, and doesn’t, month after month. Instead, we consult one gynecologist after another, and take embarrassing tests (only they don’t really embarrass me, they just seem unreal). And what the doctors do not tell us is why, when there is nothing wrong with either of us, nothing happens. Before we can have a child we must solve a riddle, like Oedipus and the Sphinx. On my forty-second birthday I go to the Spence-Chapin adoption service and explain our situation to a woman who listens attentively. I like her and feel that she understands how terri
bly much we want a child, and she shocks me by reaching across the desk and taking the application blank out of my hands: Forty-two is the age past which the agency will not consider giving out a child for adoption.
MEANWHILE, Margaret herself has been adopted, by the Italian market under the El at Third Avenue and Thirty-fourth Street. Four or five whistling boys with white aprons wrapped around their skinny hips run it. They also appear to own it, but what could be more unlikely? Their faces light up when Margaret walks into the store. They drop what they are doing and come to greet her as if she were their older sister. And whatever she asks for, it turns out they have. Their meat is never tough, their vegetables are not tarnished and limp, their sole is just as good as the fish market’s and nothing like as expensive. Now one boy, now another arrives at our door with a carton of groceries balanced on his head, having taken the stairs two steps at a time. Four flights are nothing to them. They are in business for the pure pleasure of it. They don’t think or talk about love, they just do it. Or perhaps it isn’t love but joy. But over what? Over the fact that they are alive and so are we?
All the Days and Nights Page 24