by Unknown
It became stony, dignified, stable—and strangely, Millicent herself found less and less need to see it as anything but something that had a right to be there.
Delilah was the dog responsible. She was black, part Lab-rador. She chased cars, and eventually this was how she was going to get herself killed. After Albert's death, both she and Dorrie may have come a little unhinged. But this was not something anybody could spot right away. At first, it was just that there was no man coming home and so no set time to get supper. There were no men's clothes to wash—cutting out the ideas of regular washing. Nobody to talk to, so Dorrie talked more to Millicent or to both Millicent and Porter. She talked about Albert and his job, which had been driving Nunn's Grocery Wagon, later their truck, all over the countryside. He had gone to college, he was no dunce, but when he came home from the Great War he was not very well, and he thought it best to be out-of-doors, so he got the job driving for Nunn's and kept it until he died. He was a man of inexhaustible sociability and did more than simply deliver groceries. He gave people a lift to town. He brought patients home from the hospital. He had a crazy woman on his route, and once when he was getting her groceries out of the truck, he had a compulsion to turn around. There she stood with a hatchet, about to brain him. In fact her swing had already begun, and when he slipped out of range she had to continue, chopping neatly into the box of groceries and cleaving a pound of butter. He continued to deliver to her, not having the heart to turn her over to the authorities, who would take her to the asylum. She never took up the hatchet again but gave him cupcakes sprin-kled with evil-looking seeds, which he threw into the grass at the end of the lane. Other women—more than one—had appeared to him naked. One of them arose out of a tub of bathwater in the middle of the kitchen floor, and Albert bowed low and set the groceries at her feet. "Aren't some people amazing?" said Dorrie. And she told further about a bachelor whose house was overrun by rats, so that he had to keep his food slung in a sack from the kitchen beams. But the rats ran out along the beams and leaped upon the sack and clawed it apart, and eventually the fellow was obliged to take all his food into bed with him.
"Albert always said people living alone are to be pitied,"
said Dorrie—as if she did not understand that she was now one of them. Albert's heart had given out—-he had only had
time to pull to the side of the road and stop the truck. He died in a lovely spot, where black oaks grew in a bottomland, and a sweet clear creek ran beside the road.
Dorrie mentioned other things Albert had told her concerning the Becks in the early days. How they came up the river in a raft, two brothers, and started a mill at the Big Bend, where there was nothing but the wildwoods. And nothing now, either, but the ruins of their mill and dam. The farm was never a livelihood but a hobby, when they built the big house and brought out the furniture from Edinburgh. The bedsteads, the chairs, the carved chests that went in the Auction. They brought it round the Horn, Dorrie said, and up Lake Huron and so up the river. Oh, Dorrie, said Millicent, that is not possible, and she brought a school geography book she had kept, to point out the error. It must have been a canal, then, said Dorrie. I recall a canal. The Panama Canal? More likely it was the Erie Canal, said Millicent.
"Yes," said Dorrie. "Round the Horn and into the Erie Canal."
"Dorrie is a true lady, no matter what anybody says," said Millicent to Porter, who did not argue. He was used to her absolute, personal judgments. "She is a hundred times more a lady than Muriel Snow," said Millicent, naming the person who might be called her best friend. "I say that, and I love Muriel Snow dearly."
Porter was used to hearing that too.
"I love Muriel Snow dearly and I would stick up for her no matter what," Millicent would say. "I love Muriel Snow, but that does not mean I approve of everything she does."
The smoking. And saying hot damn, Chrissakes, poop. I nearly pooped my pants.
Muriel Snow had not been Millicent's first choice for best friend. In the early days of her marriage she had set her sights high. Mrs. Lawyer Nesbitt. Mrs. Dr. Finnegan. Mrs. Doud.
They let her take on a donkey's load of work in the Women's Auxiliary at the church, but they never asked her to their tea parties. She was never inside their houses, unless it was to a meeting. Porter was a farmer. No matter how many farms he owned, a farmer. She should have known.
She met Muriel when she decided that her daughter Betty Jean would take piano lessons. Muriel was the music teacher.
She taught in the schools as well as privately. Times being what they were, she charged only twenty cents a lesson. She played the organ at the church, and directed various choirs, but some of that was for nothing. She and Millicent got on so well that soon she was in Millicent's house as often as Dorrie was, though on a rather different footing.
Muriel was over thirty and had never been married. Getting married was something she talked about openly, jokingly, and plaintively, particularly when Porter was around. "Don't you know any men, Porter?" she would say. "Can't you dig up just one decent man for me?" Porter would say maybe he could, but maybe she wouldn't think they were so decent. In the summers Muriel went to visit a sister in Montreal, and once she went to stay with some cousins she had never met, only written to, in Philadelphia. The first thing she reported on, when she got back, was the man situation.
"Terrible. They all get married young, they're Catholics, and the wives never die—they're too busy having babies.
"Oh, they had somebody lined up for me but I saw right away he would never pan out. He was one of those ones with the mothers.
"I did meet one, but he had an awful failing. He didn't cut his toenails. Big yellow toenails. Well? Aren't you going to ask me how I found out?"
Muriel was always dressed in some shade of blue. A woman should pick a color that really suits her and wear it all the time, she said. Like your perfume. It should be your signature.
Blue was widely thought to be a color for blondes, but that was incorrect. Blue often made a blonde look more washed-out than she was to start with. It suited best a warm-looking skin, like Muriel's—skin that took a good tan and never entirely lost it. It suited brown hair and brown eyes, which were hers as well. She never skimped on clothes—it was a mistake to. Her fingernails were always painted—a rich and distracting color, apricot or blood-ruby or even gold. She was small and round, she did exercises to keep her tidy waistline. She had a dark mole on the front of her neck, like a jewel on an invisible chain, and another like a tear at the corner of one eye.
"The word for you is not pretty," Millicent said one day, surprising herself. "It's bewitching." Then she flushed at her own tribute, knowing she sounded childish and excessive.
Muriel flushed a little too, but with pleasure. She drank in admiration, frankly courted it. Once, she dropped in on her way to a concert in Walley, which she hoped would yield re-wards. She had an ice-blue dress on that shimmered.
"And that isn't all," she said. "Everything I have on is new, and everything is silk."
It wasn't true that she never found a man. She found one fairly often but hardly ever one that she could bring to supper.
She found them in other towns, where she took her choirs to massed concerts, in Toronto at piano recitals to which she might take a promising student. Sometimes she found them in the students' own homes. They were the uncles, the fathers, the grandfathers, and the reason that they would not come into Millicent's house, but only wave—sometimes curtly, sometimes with bravado—from a waiting car, was that they were married. A bedridden wife, a drinking wife, a vicious shrew of a wife? Perhaps. Sometimes no mention at all—a ghost of a wife. They escorted Muriel to musical events, an interest in music being the ready excuse. Sometimes there was even a performing child, to act as chaperon. They took her to 59
dinners in restaurants in distant towns. They were referred to as friends. Millicent defended her. How could there be any harm when it was all so out in the open? But it wasn't, quite, and it would
all end in misunderstandings, harsh words, unkindness. A warning from the school board. Miss Snow will have to mend her ways. A bad example. A wife on the phone.
Miss Snow, I am sorry we are cancelling— Or simply silence.
A date not kept, a note not answered, a name never to be mentioned again.
"I don't expect so much," Muriel said. "I expect a friend to be a friend. Then they hightail it off at the first whiff of trouble after saying they'd always stand up for me. Why is that?"
"Well, you know, Muriel," Millicent said once, "a wife is a wife. It's all well and good to have friends, but a marriage is a marriage."
Muriel blew up at that, she said that Millicent thought the worst of her like everybody else, and was she never to be permitted to have a good time, an innocent good time? She banged the door and ran her car over the calla lilies, surely on purpose. For a day Millicent's face was blotchy from weeping.
But enmity did not last and Muriel was back, tearful as well, and taking blame on herself.
"I was a fool from the start," she said, and went into the front room to play the piano. Millicent got to know the pattern. When Muriel was happy and had a new friend, she played mournful tender songs, like "Flowers of the Forest." Or:
"She dressed herself in male attire, And gaily she was dressed—"
Then when she was disappointed, she came down hard and fast on the keys, she sang scornfully.
"Hey Johnny Cope are ye waukin yet?"
Sometimes Millicent asked people to supper (though not the Finnegans or the Nesbitts or the Douds), and then she liked to ask Dorrie and Muriel as well. Dorrie was a help to wash up the pots and pans afterward, and Muriel could entertain on the piano.
She asked the Anglican minister to come on Sunday, after evensong, and bring the friend she had heard was staying with him. The Anglican minister was a bachelor, but Muriel had given up on him early. Neither fish nor fowl, she said. Too bad. Millicent liked him, chiefly for his voice. She had been brought up an Anglican, and though she'd switched to United, which was what Porter said he was (so was everybody else, so were all the important and substantial people in the town), she still favored Anglican customs. Evensong, the church bell, the choir coming up the aisle in as stately a way as they could manage, singing—instead of just all clumping in together and sitting down. Best of all the words. But thou O
God have mercy upon us miserable offenders. Spare thou them, O
Lord, which confess their faults. Restore thou them that are pen-itent, according to the Promise. . . .
Porter went with her once and hated it.
Preparations for this evening supper were considerable.
The damask was brought out, the silver serving-spoon, the black dessert plates painted with pansies by hand. The cloth had to be pressed and all the silverware polished, and then there was the apprehension that a tiny smear of polish might remain, a gray gum on the tines of a fork or among the grapes round the rim of the wedding teapot. All day Sunday, Millicent was torn between pleasure and agony, hope and sus-pense. The things that could go wrong multiplied. The Bavarian cream might not set (they had no refrigerator yet and had to chill things in summer by setting them on the cellar floor). The angel food cake might not rise to its full glory. If it did rise, it might be dry. The biscuits might taste of tainted flour or a beetle might crawl out of the salad. By five o'clock she was in such a state of tension and misgiving that nobody could stay in the kitchen with her. Muriel had arrived early to help out, but she had not chopped the potatoes finely enough, and had managed to scrape her knuckles while grating carrots, so she was told off for being useless, and sent to play the piano.
Muriel was dressed up in turquoise crepe and smelled of her Spanish perfume. She might have written off the minister but she had not seen his visitor yet. A bachelor, perhaps, or a widower, since he was travelling alone. Rich, or he would not be travelling at all, not so far. He came from England, people said. Someone had said no, Australia.
She was trying to get up the "Polovtsian Dances."
Dorrie was late. It threw a crimp in things. The jellied salad had to be taken down cellar again, lest it should soften.
The biscuits put to warm in the oven had to be taken out, for fear of getting too hard. The three men sat on the veranda—
the meal was to be eaten there, buffet style—and drank fizzy lemonade. Millicent had seen what drink did in her own family—her father had died of it when she was ten—and she had required a promise from Porter, before they married, that he would never touch it again. Of course he did—he kept a bottle in the granary—but when he drank he kept his distance and she truly believed the promise had been kept. This was a fairly common pattern at that time, at least among farmers—
drinking in the barn, abstinence in the house. Most men would have felt there was something the matter with a woman who didn't lay down such a law.
But Muriel, when she came out on the veranda in her high heels and slinky crepe, cried out at once, "Oh, my favorite drink! Gin and lemon!" She took a sip and pouted at Porter.
"You did it again. You forgot the gin again!" Then she teased the minister, asking if he didn't have a flask in his pocket. The minister was gallant, or perhaps made reckless by boredom.
He said he wished he had.
The visitor who rose to be introduced was tall and thin and sallow, with a face that seemed to hang in pleats, precise and melancholy. Muriel did not give way to disappointment. She sat down beside him and tried in a spirited way to get him into conversation. She told him about her music teaching and was scathing about the local choirs and musicians. She did not spare the Anglicans. She twitted the minister and Porter, and told about the live chicken that walked onto the stage during a country school concert.
- Porter had done the chores early, washed and changed into his suit, but he kept looking uneasily toward the barnyard, as if he recalled something that was left undone. One of the cows was bawling loudly in the field, and at last he excused himself to go and see what was wrong with her. He found that her calf had got caught in the wire fence and managed to strangle itself. He did not speak of this loss when he came back with newly washed hands. "Calf caught up in the fence" was all he said. But he connected the mishap somehow with this entertainment, with dressing up and having to eat off your knees.
He thought that was not natural.
"Those cows are as bad as children," Millicent said. "Always wanting your attention at the wrong time!" Her own children, fed earlier, peered from between the bannisters to watch the food being carried to the veranda. "I think we will have to commence without Dorrie. You men must be starving.
This is just a simple little buffet. We sometimes enjoy eating outside on a Sunday evening."
"Commence, commence!" cried Muriel, who had helped to carry out the various dishes—the potato salad, carrot salad, jellied salad, cabbage salad, the devilled eggs and cold roast 63
chicken, the salmon loaf and warm biscuits, and relishes. Just when they had everything set out, Dorrie came around the side of the house, looking warm from her walk across the field, or from excitement. She was wearing her good summer dress, a navy-blue organdie with white dots and white collar, suitable for a little girl or an old lady. Threads showed where she had pulled the torn lace off the collar instead of mending it, and in spite of the hot day a rim of undershirt was hanging out of one sleeve. Her shoes had been so recently and sloppily cleaned that they left traces of whitener on the grass.
"I would have been on time," Dorrie said, "but I had to shoot a feral cat. She was prowling around my house and carrying on so. I was convinced she was rabid."
She had wet her hair and crimped it into place with bobby pins. With that, and her pink shiny face, she looked like a doll with a china head and limbs attached to a cloth body, firmly stuffed with straw.
"I thought at first she might have been in heat, but she didn't really behave that way. She didn't do any of the rubbing along on her stomach such as I'm used to se
eing. And I noticed some spitting. So I thought the only thing to do was to shoot her. Then I put her in a sack and called up Fred Nunn to see if he would run her over to Walley, to the vet.
I want to know if she really was rabid, and Fred always likes the excuse to get out in his car. I told him to leave the sack on the step if the vet wasn't home on a Sunday night."
"I wonder what he'll think it is?" said Muriel. "A present?"
"No. I pinned on a note, in case. There was definite spitting and dribbling." She touched her own face to show where the dribbling had been. "Are you enjoying your visit here?"
she said to the minister, who had been in town for three years and had been the one to bury her brother.
"It is Mr. Speirs who is the visitor, Dorrie," said Millicent.
Dorrie acknowledged the introduction and seemed unembarrassed by her mistake. She said that the reason she took it for a feral cat was that its coat was all matted and hideous, and she thought that a feral cat would never come near the house unless it was rabid.
"But I will put an explanation in the paper, just in case. I will be sorry if it is anybody's pet. I lost my own pet three months ago—my dog Delilah. She was struck down by a car."
It was strange to hear that dog called a pet, that big black Delilah who used to lollop along with Dorrie all over the countryside, who tore across the fields in such savage glee to attack cars. Dorrie had not been distraught at the death; indeed she had said she had expected it someday. But now, to hear her say "pet," Millicent thought, there might have been grief she didn't show.