Deliverance

by James Dickey

  For we had grooved, modestly, as a studio. I knew it and was glad of it; I had no wish to surpass our limitations, or to provide a home for geniuses on their way to the Whitney or to suicide. I knew that our luck was good and would probably hold; that our success was due mainly to the lack of graphic sophistication in the area. What we had, we could handle, and we were in a general business situation that provided for everybody pretty well, even those shading down toward incompetence, so long as they were earnest and on time. The larger agencies in the city and the local branches of the really big New York and Chicago agencies didn’t give us much work. We made a halfhearted pitch for some of it, but when they were not enthusiastic we — or at least Thad and I — were happy to take up where we had been. The agencies we liked and understood best were those which were most like us — those that were not pressing, that were taking care of their people. We worked on small local accounts — banks, jewelry stores, supermarkets, radio stations, bakeries, textile mills. We would ride with these.

  Going under a heavy shade tree, I felt the beer come up, not into my throat but into my eyes. The day sparkled painfully, seeming to shake on some kind of axis, and through this a leaf fell, touched with unusual color at the edges. It was the first time I had realized that autumn was close. I began to climb the last hill.

  I was halfway up when I noticed how many women there were around me. Since I had passed the Gulf station on the corner I hadn’t seen another man anywhere. I began to look for one in the cars going by, but for the few more minutes it took to get to the building, I didn’t see a one. The women were almost all secretaries and file clerks, young and semi-young and middle-aged, and their hair styles, piled and shellacked and swirled and horned, and almost every one stiff, filled me with desolation. I kept looking for a decent ass and spotted one in a beige skirt, but when the girl turned her barren, gum-chewing face toward me, it was all over. I suddenly felt like George Holley, my old Braque man, must have felt when he worked for us, saying to himself in any way he could, day after day, I am with you but not of you. But I knew better. I was of them, sure enough, as they stretched out of sight before me up the hill and into the building. And I was right in one of the lines that ceremoniously divided around a modern fountain full of dimes and pennies.

  The door swung and a little beehived girl ducked under my arm into the cold air. The lunch hour exhaled from several women and me with a long low sound as we revolved in the door. Muzak entered the elevator and we rose on “Vienna Blood,” played with lots of strings. Between the beginning and end of one chorus my stomach fell like a stone. I let out my belt a notch and the beer settled as I wiped my forehead on the inner part of my jacket sleeve. At the sixth floor there were only two female survivors and myself; the others worked in the larger, open bay offices on the lower floors — insurance companies. I walked down the clean, walled-in corridor to the horse-headed glass of our studio. The only good thing Holley had done for us was to turn one of Braque’s birds into a Pegasus. It flew delicately aside and around me as I went in.

  “Any calls?”

  “Not any awfully interesting ones, Mr. Gentry. Shadow-Row Shell Homes would like to see the comps next week. You had a request for a job interview from a young lady who wouldn’t give her name, says shell call back. And the model is here for Kitts.”

  “Thank you very much,” I said to Peg Wyman, who had been with us the whole time and showed it. “I’ll go on back.”

  I went down the office hallway taking my coat off pinch by pinch. It was the first time I had thought to notice that the hall was inside a larger hall, part of the length of the building and the floor. It was a very tasteful place, though. Thad and I had really nice offices with tensor lights all over the place, and the longer-lasting or more highly paid art directors had small offices or at least cubicles. The rest of the studio was a large open bay with drawing boards, and I watched for a minute the gray and bald heads in their places, the shiny black ones, the curly ones and lank ones returning. I may not have had everything to do with this — with creating this — I said to myself in a silent voice that was different from my usual silent voice, but I have had something to do with it. Never before had I had such a powerful sense of being in a place I had created. Alton Rogers would not be sitting there, dreaming of flying the Hump in the old days. If it weren’t for me, George Holley’s cubicle would still be full of Utrillo. The arrangement of heads and fingers and glasses would not be like it is, at this moment, if it were not for me. These people would probably be working for somebody else, but they would not be here. They are in some way my captives; their lives — part of some, most of some — are being spent here.

  But then so was mine. I was not really thinking about their being my prisoners, but of being my own. I went into the office and hung up my coat, and for a second put one hand down on my drawing board, as though posing for a house ad: Vice-President Gentry makes important decision. It would be one of those poses that aspires to show you that such decisions by middle-aged responsible men are an important factor in maintaining the economy and the morale of the whole Western world. This could have been true, so far as I was able to tell. Probably in some ways it was.

  There were piles of roughs, among which sat my wife and my little boy, Dean. There were stacks of copy, approved and tentative, from agencies, and I made a note to remind Thad that certain of the less inventive outfits were pressing us into service as agency art departments, which neither of us liked at all. And I called Jack Waskow, the photographer, to see if he was ready for me. He wasn’t, quite, and I sat down to see if there was anything I could do right quick, anything I could get out of the way.

  Before I made a move, though, I sat for maybe twenty seconds, failing to feel my heart beat, though at that moment I wanted to. The feeling of the inconsequence of whatever I would do, of anything I would pick up or think about or turn to see was at that moment being set in the very bone marrow. How does one get through this? I asked myself. By doing something that is at hand to be done was the best answer I could give; that and not saying anything about the feeling to anyone. It was the old mortal, helpless, time-terrified human feeling, just the same. I had had a touch or two before, though it was more likely to come with my family, for I could find ways to keep busy at the studio, or at least to seem busy, which was harder, in some cases, than doing real work. But I was really frightened, this time. It had me for sure, and I knew that if I managed to get up, through the enormous weight of lassitude, I would still move to the water cooler, or speak to Jack Waskow or Thad, with a sense of being someone else, some poor fool who lives as unobserved and impotent as a ghost, going through the only motions it has.

  I picked up a rough I had done of the Kitts’ ad. If there was one thing I felt a reasonable certainty about, it was my ability to get the elements of a layout into some kind of harmonious relationship. I didn’t as a rule like too traditional, cheap Boraxy ads, with screaming typeforms and an obvious and chillingly commercial use of sex, nor did I like the overly “creative” kind of ad, with some farfetched or gimmicked-up formula or calculated craziness. I liked harmoniousness and a situation where the elements didn’t fight with each other or overwhelm each other. I had won a couple of modest awards for art direction around town, where admittedly the competition was not of the first class, and they were hanging in the office. I took a close look at the Kitts’ layout, which was for a line of artificial silk women’s underwear called Kitt’n Britches. It showed a girl in nothing but panties with her back to the camera looking over her shoulder. As we had planned it, a kitten’s head was to appear under her chin as she held it, and I was a little worried that, with a photograph large enough to show the britches, the cat’s head might be too small. We could crop in, of course; we didn’t actually need to show the girl’s feet, as the account man had said, but I kind of wanted to. I like feet, for one thing, and a whole being in a photograph is in an odd way more effective, a lot of times, than someone who has been cut up with scis
sors. We had gone back and forth with the agency about this, and with the Kitts’ sales manager, an incredible countrified jerk who had originally had the idea of using a real girl in a situation like the one in the Coppertone ad, where the Scotty is pulling the little girl’s bathing suit down off her bare behind. “If we did it with a cat,” he said, “it would also show that the pants won’t run or tear.” The agency and I had managed to talk him out of this, explaining that a reputable trade book wouldn’t run it, and we couldn’t find a decent-looking girl who would pose for it, either. He agreed with us, finally, but he still wanted more obvious sex in the ad than I did, and had told me when we broke up that “Whoever we get should really fill out those panties,”

  I fiddled with the elements of the rough, bringing the girl forward and moving her back, until I thought I had what was a good compromise, with the type centering around the girl’s hips. Who will she be? I wondered. Whose body will try to fill out these lines I’ve put down? I went in to look at the studio.

  Thad was there, moving things and people around with his expert, interior-decorator’s formality and fussiness. The model was sitting in a camp chair, shading her eyes against the lights. She was in a checked black-and-white robe that — at least to me — had something unexpectedly carnivallike about it, and she looked nothing like a carnival girl, thank God. Around her the room seemed to swarm and tremble with men, though there were actually only five of us, including the lighting technician. Thad’s secretary, a mean-mouthed little woman named Wilma, came in with the kitten we’d got from the SPCA, holding it in the crook of an arm as though she were going to be photographed herself. Max Fraley, one of the paste-up men, went to get a saucer of milk for it. I sat on the edge of a table and undid my tie. Inside the bright hardship of the lights was a peculiar blue, wholly painful, unmistakably man-made, unblinkable thing that I hated. It reminded me of prisons and interrogations, and that thought jumped straight at me. That was one side of it, all right, and the other was pornography. I thought of those films you see at fraternity parties and in officers’ clubs where you realize with terror that when the girl drops the towel the camera is not going to drop with it discreetly, as in old Hollywood films, following the bare feet until they hide behind a screen, but is going to stay and when the towel falls, move in; that it is going to destroy someone’s womanhood by raping her secrecy; that there is going to be nothing left.

  Thad asked the girl to stand up. Her feet were strong-toed and healthy and a little tomboyish; I would have bet money that she came from a farm. She had a fine, open, gray-eyed face with a few freckles. She was somebody I didn’t mind looking in the eyes. And straight into them, too, so that if she’d permit it, the look would go deep. I did this, because on the spur of the moment I wanted to. There was a peculiar spot, a kind of tan slice, in her left eye, and it hit me with, I knew right away, strong powers; it was not only recallable, but would come back of itself. One hand, also strong and quiet, was holding the throat of her robe closed, and she put her head back — very far back, almost like an acrobat — and shook her hair so that it hung free of her neck. All at once two more secretaries materialized like nurses or prison matrons, all revolving around the model. Thad had her stand in the chalk marks from around which we had cleared the newspapers. Her feet gripped the cold cork floor. She held out her arms, and Wilma slipped off her robe. She had soft long legs, not as muscular as I would have thought, with those feet, but very shapely and harmonious, though it struck me that they were not firm enough to last for long. Her bare back had a helpless, undeveloped look about it, and this seemed to me more womanly and endearing than anything else about her except her eye. She filled the Kitt’n Britches well enough, but there was nothing especially provocative about the way she did it; she might have been Someone’s sister, and that was not at all the effect we wanted. Not knowing exactly how I wanted to change the pose, or if it could be changed, I stepped over and touched her.

  She turned and looked into my face at close range, and the gold-glowing mote fastened on me; it was more gold than any real gold could possible be; it was alive, and it saw me. Standing this close, she changed completely; she looked like someone who had come to womanhood in less than a minute. Her hands were folded across her breasts in a way that managed to give the effect of casualness, and Max was not quite sure of how to hand her the cat. She took it with one hand, and in doing so, protecting herself with the other, she simply took her left breast in her hand, and the sight of that went through me, a deep and complex male thrill, as if something had touched me in the prostate. She fixed her feet in the marks, wavering for a moment throwing light off her shoulders, the filaments of the bulbs spitting and buzzing about her, and then seemed to settle.

  We got what Thad thought might be some good stuff, though he really didn’t believe, he said, that the girl was good enough to use again. I went back to the office and did something I hadn’t done since the early days of the studio. I brainstormed with myself for the rest of the afternoon. Nothing much came of it, but my mind was jumping quickly from one thing to another, and the associations were very good ones. I left a sheaf of roughs with Thad and told him I needed Friday off to do some work around the house. He didn’t argue with me. We had made it as it was; we had made it.

  September 14th

  THERE WAS SOMETHING about me that usually kept me from dreaming, or maybe kept me from remembering what I had dreamed; I was either awake or dead, and I always came back slowly. I had the feeling that if it were perfectly quiet, if I could hear nothing, I would never wake up. Something in the world had to pull me back, for every night I went down deep, and if I had any sensation during sleep, it was of going deeper and deeper, trying to reach a point, a line or border.

  This time the wind woke me, and I dragged upward and tried, with the instinct of survival, to get clear of where I had been, one more time. I was used to hearing Martha’s breath bring me back, for she breathed heavily, but this time it was the wind. First the wind by itself and then the wind ringing a little set of metal figures on strings that Martha had put out on the patio — bronze figures of birds surrounding an owl which, because of a long wind vane attached to him, moved when the air moved and touched the others, making a chiming sound something like the one made by the Chinese glass wind-bells that everybody used to have in the thirties, when I was growing up. It was a small, inconstant sound, a lovely sound, I always thought, and as I came up from the sleep-dark to the real dark of the room, I had an idea that it might evoke something, and I lay with the room becoming actual around me, in the dark, beside my wife, in a body.

  I reached for Martha, as I always did, and her head stirred under the towel she wore at night. I held her shoulder lightly, and it was then I remembered I was going with Lewis. The routine I was used to pulled at me, but something in me rose daringly above it, full of fear and feeling weak and incompetent but excited. I took Martha in my arms to see if she would try to get away and back to sleep, or come to me for warmth, and then go back.

  She was a thin girl whom I had married fifteen years before; she had been working as a surgical nurse. The fact that she might or might not be pretty did not occur to me at all, though friends, without great enthusiasm or conviction, used to tell me she was. But the question of beauty, beyond certain very obvious considerations, never really interested me in women; what I looked for and felt for was the spark, the absolutely personal connection, and when I found a genuine form of it, small but steady, I had married it. There was nothing to regret about this, and I didn’t regret it. She was a good wife and a good companion, a little tough, but with a toughness that got things done. She was genuinely proud of my being vice-president of a company, and she insisted on believing that I had talent as an artist, though I had none. I was a mechanic of the graphic arts, and when I could get the problem to appear mechanical to me, and not the result of inspiration, I could do something with it. On this principle I had done a few big collage-things for the living room, made from torn-u
p posters, movie magazines, sports headlines and the like. And that, as far as art was concerned, was it. Remembering these, I thought that it might be that Martha cared for them not so much because I had done them, but because they represented some side of me she didn’t know. But it was a wrong faith on her part, and, though I never told her how I felt, I never encouraged it. I drew on her, and she slid to me.