by Unknown
"I thought I'd make a custard," said Maureen.
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How much had Frances heard of what Marian Hubbert had said? Everything, probably. She sounded breathless with the effort of keeping all that in. She held up the typed lines in front of Maureen's face and Maureen said, "It's too long, I don't have time." She started to separate the eggs.
"It's good," Frances said. "It's good enough to be put to music."
She read it through aloud. Maureen said, "I have to concentrate."
"So I guess I got my marching orders," said Frances, and went to do the sunroom.
Then Maureen had the peace of the kitchen—the old white tiles and high yellowed walls, the bowls and pots and implements familiar and comforting to her, as probably to her predecessor.
What Mary Johnstone told the girls in her talk was always more or less the same thing and most of them knew what to expect. They could even make prepared faces at each other.
She told them how Jesus had come and talked to her when she was in the iron lung. She did not mean in a dream, she said, or in a vision, or when she was delirious. She meant that He came and she recognized Him but didn't think anything was strange about it. She recognized Him at once, though he was dressed like a doctor in a white coat. She thought, Well, that's reasonable—otherwise they wouldn't let Him in here. That was how she took it. Lying there in the iron lung, she was sensible and stupid at once, as you are when something like that hits you. (She meant Jesus, not the polio.) Jesus said,
"You've got to get back up to bat, Mary." That was all. She was a good Softball player, and He used language that He knew she would understand. Then He went away. And she hugged onto Life, the way He had told her to.
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There was more to follow, about the uniqueness and specialness of each of their lives and their bodies, which led of course into what Mary Johnstone called "plain talk" about boys and urges. (This was where they did the faces—they were too abashed when she was going on about Jesus.) And about liquor and cigarettes and how one thing can lead to another. They thought she was crazy—and she couldn't even tell that they had smoked themselves half sick last night. They reeked and she never mentioned it.
So she was—crazy. But everybody let her talk about Jesus in the hospital because they thought she was entitled to believe that.
But suppose you did see something? Not along the line of Jesus, but something? Maureen has had that happen. Sometimes when she is just going to sleep but not quite asleep, not dreaming yet, she has caught something. Or even in the day-time during what she thinks of as her normal life. She might catch herself sitting on stone steps eating cherries and watching a man coming up the steps carrying a parcel. She has never seen those steps or that man, but for an instant they seem to be part of another life that she is leading, a life just as long and complicated and strange and dull as this one. And she isn't surprised. It's just a fluke, a speedily corrected error, that she knows about both lives at the same time. It seemed so ordinary, she thinks afterward. The cherries. The parcel.
What she sees now isn't in any life of her own. She sees one of those thick-fingered hands that pressed into her tablecloth and that had worked among the feathers, and it is pressed down, unresistingly, but by somebody else's will—it is pressed down on the open burner of the stove where she is stirring the custard in the double boiler, and held there just for a second or two, just long enough to scorch the flesh on the red coil, to scorch but not to maim. In silence this is done, and by agreement—a brief and barbaric and necessary act. So
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it seems. The punished hand dark as a glove or a hand's shadow, the fingers spread. Still in the same clothes. The cream-colored sleeve, the dull blue.
Maureen hears her husband moving around in the front hall, so she turns off the heat and lays down the spoon and goes in to him. He has tidied himself up. He is ready to go out. She knows without asking where he is going. Down to the Police Office, to find out what has been reported, what is being done.
"Maybe I should drive you," she says. "It's hot out."
He shakes his head, he mutters.
"Or I could walk along with you."
No. He is going on a serious errand and it would diminish him to be accompanied or transported by a wife.
She opens the front door for him and he says, "Thank you," in his stiff, quaintly repentant way. As he goes past, he bends and purses his lips at the air close to her cheek.
They've gone, there's nobody sitting on the wall now.
Heather Bell will not be found. No body, no trace. She has blown away like ashes. Her displayed photograph will fade in public places. Its tight-lipped smile, bitten in at one corner as if suppressing a disrespectful laugh, will seem to be connected with her disappearance rather than her mockery of the school photographer. There will always be a tiny suggestion, in that, of her own free will.
Mr. Siddicup will not be any help. He will alternate between bewilderment and tantrums. They will not find anything when they search his house, unless you count those old underclothes of his wife's, and when they dig up his garden the only bones they will find will be old bones that dogs have
Open Secrets
buried. Many people will continue to believe that he did something or saw something. He had something to do with it. When he is committed to the Provincial Asylum, renamed the Mental Health Centre, there will be letters in the local paper about Preventive Custody, and locking the stable door after the horse is stolen.
There will also be letters in the newspaper from Mary Johnstone, explaining why she behaved as she did, why in all good sense and good faith she behaved as she did that Sunday.
Finally the editor will have to let her know that Heather Bell is old news, and not the only thing the town wants to be known for, and if the hikes are to come to an end it won't be the worst thing in the world, and the story can't be rehashed forever.
Maureen is a young woman yet, though she doesn't think so, and she has life ahead of her. First a death—that will come soon—then another marriage, new places and houses. In kitchens hundreds and thousands of miles away, she'll watch the soft skin form on the back of a wooden spoon and her memory will twitch, but it will not quite reveal to her this moment when she seems to be looking into an open secret, something not startling until you think of trying to tell it.
The Jack Randa Hotel
•
On the runway, in Honolulu, the plane loses speed, loses heart, falters and veers onto the grass, and bumps to a stop. A few yards it seems from the ocean. Inside, everybody laughs.
First a hush, then the laugh. Gail laughed herself. Then there was a flurry of introductions all around. Beside Gail are Larry and Phyllis, from Spokane.
Larry and Phyllis are going to a tournament of Left-handed Golfers, in Fiji, as are many other couples on this plane. It is Larry who is the left-handed golfer—Phyllis is the wife going along to watch and cheer and have fun.
They sit on the plane—Gail and the Left-handed Golfers—
and lunch is served in picnic boxes. No drinks. Dreadful heat.
Jokey and confusing announcements are made from the cock-pit. Sorry about the problem. Nothing serious but it looks like it will keep us stewing here a while longer. Phyllis has a terrible
The Jack RancLa Hotel
headache, which Larry tries to cure by applying finger-pressure to points on her wrist and palm.
"It's not working," Phyllis says. "I could have been in New Orleans by now with Suzy."
Larry says, "Poor lamb."
Gail catches the fierce glitter of diamond rings as Phyllis pulls her hand away. Wives have diamond rings and headaches, Gail thinks. They still do. The truly successful ones do.
They have chubby husbands, left-handed golfers, bent on a lifelong course of appeasement.
Eventually the passengers who are not going to Fiji, but on to Sydney, are taken off the plane. They are led into the terminal and there deserted by their airl
ine guide they wander about, retrieving their baggage and going through customs, trying to locate the airline that is supposed to honor their tickets.
At one point, they are accosted by a welcoming committee from one of the Island's hotels, who will not stop singing Ha-waiian songs and flinging garlands around their necks. But they find themselves on another plane at last. They eat and drink and sleep and the lines to the toilets lengthen and the aisles fill up with debris and the flight attendants hide in their cubbyholes chatting about children and boyfriends. Then comes the unsettling bright morning and the yellow-sanded coast of Australia far below, and the wrong time of day, and even the best-dressed, best-looking passengers are haggard and unwilling, torpid, as from a long trip in steerage. And before they can leave the plane there is one more assault. Hairy men in shorts swarm aboard and spray everything with insecticide.
"So maybe this is the way it will be getting into Heaven," Gail imagines herself saying to Will. "People will fling flowers on you that you don't want, and everybody will have headaches and be constipated and then you will have to be sprayed for Earth germs."
Her old habit, trying to think up clever and lighthearted things to say to Will.
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After Will went away, it seemed to Gail that her shop was filling up with women. Not necessarily buying clothes. She didn't mind this. It was like the long-ago days, before Will. Women were sitting around in ancient armchairs beside Gail's ironing board and cutting table, behind the faded batik curtains, drinking coffee.
Gail started grinding the coffee beans herself, as she used to do.
The dressmaker's dummy was soon draped with beads and had a scattering of scandalous graffiti. Stories were told about men, usually about men who had left. Lies and injustices and confrontations. Betrayals so horrific—yet so trite—that you could only rock with laughter when you heard them. Men made fatuous speeches (I am sorry, but I no longer feel committed to this marriage). They offered to sell back to the wives cars and furniture that the wives themselves had paid for. They capered about in self-satisfaction because they had managed to impregnate some dewy dollop of womanhood younger than their own children.
They were fiendish and childish. What could you do but give up on them? In all honor, in pride, and for your own protection?
Gail's enjoyment of all this palled rather quickly. Too much coffee could make your skin look livery. An underground quarrel developed among the women when it turned out that one of them had placed an ad in the Personal Column. Gail shifted from coffee with friends to drinks with Cleata, Will's mother. As she did this, oddly enough her spirits grew more sober. Some giddiness still showed in the notes she pinned to her door so that she could get away early on summer afternoons. (Her clerk, Donalda, was on her holidays, and it was too much trouble to hire anybody else.) Gone to the Opera.
Gone to the Funny Farm.
Gone to stock up on the Sackcloth and Ashes.
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Actually these were not her own inventions, but things Will used to write out and tape on her door in the early days when they wanted to go upstairs. She heard that such flippancy was not appreciated by people who had driven some distance to buy a dress for a wedding, or girls on an expedition to buy clothes for college. She did not care.
On Cleata's veranda Gail was soothed, she became vaguely hopeful. Like most serious drinkers, Cleata stuck to one drink—
hers was Scotch—and seemed amused by variations. But she would make Gail a gin and tonic, a white rum and soda.
She introduced her to tequila. "This is Heaven," Gail sometimes said, meaning not just the drink but the screened veranda and hedged back yard, the old house behind them with its shuttered windows, varnished floors, inconveniently high kitchen cupboards, and out-of-date flowered curtains. (Cleata despised decorating.) This was the house where Will, and Cleata too, had been born, and when Will first brought Gail into it, she had thought, This is how really civilized people live. The carelessness and propriety combined, the respect for old books and old dishes. The absurd things that Will and Cleata thought it natural to talk about. And the things she and Cleata didn't talk about—Will's present defection, the illness that has made Cleata's arms and legs look like varnished twigs within their deep tan, and has hollowed the cheeks framed by her looped-back white hair. She and Will have the same slightly monkeyish face, with dreamy, mocking dark eyes.
Instead, Cleata talked about the book she was reading, The Anglo-Saxon Chronicle. She said that the reason the Dark Ages were dark was not that we couldn't learn anything about them but that we could not remember anything we did learn, and that was because of the names.
"Caedwalla," she said. "Egfrith. These are just not names on the tip of your tongue anymore."
Gail was trying to remember which ages, or centuries, were i65
dark. But her ignorance didn't embarrass her. Cleata was making fun of all that, anyway.
"Aelfflaed," said Cleata, and spelled it out. "What kind of a heroine is Aelfflaed?"
When Cleata wrote to Will, she probably wrote about Aelfflaed and Egfrith. Not about Gail. Not Gail was here looking very pretty in some kind of silky gray summer-pajamas outfit.
She was in good form, made various witty remarks. . . . No more than she would say to Gail, "I have my doubts about the love-birds. Reading between the lines, I can't help wondering if disillusionment isn't setting in. . . . "
When she met Will and Cleata, Gail thought they were like characters in a book. A son living with his mother, apparently contentedly, into middle age. Gail saw a life that was ceremonious and absurd and enviable, with at least the appearance of celibate grace and safety. She still sees some of that, though the truth is Will has not always lived at home, and he is neither celibate nor discreetly homosexual. He had been gone for years, into his own life—working for the National Film Board and the Canadian Broadcasting Corporation—and had given that up only recently, to come back to Walley and be a teacher. What made him give it up? This and that, he said.
Machiavellis here and there. Empire-building. Exhaustion.
Gail came to Walley one summer in the seventies. The boyfriend she was with then was a boatbuilder, and she sold clothes that she made—capes with appliques, shirts with bil-lowing sleeves, long bright skirts. She got space in the back of the craft shop, when winter came on. She learned about importing ponchos and thick socks from Bolivia and Guatemala.
She found local women to knit sweaters. One day Will stopped her on the street and asked her to help him with the costumes for the play he was putting on— The Skin of Our Teeth. Her boyfriend moved to Vancouver.
She told Will some things about herself early on, in case he
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should think that with her capable build and pink skin and wide gentle forehead she was exactly the kind of a woman to start a family on. She told him that she had had a baby, and that when she and her boyfriend were moving some furniture in a borrowed van, from Thunder Bay to Toronto, carbon-monoxide fumes had leaked in, just enough to make them feel sick but enough to kill the baby, who was seven weeks old.
After that Gail was sick—she had a pelvic inflammation. She decided she did not want to have another child and it would have been difficult anyway, so she had a hysterectomy.
Will admired her. He said so. He did not feel obliged to say, What a tragedy! He did not even obliquely suggest that the death was the result of choices Gail had made. He was entranced with her then. He thought her brave and generous and resourceful and gifted. The costumes she designed and made for him were perfect, miraculous. Gail thought that his view of her, of her life, showed a touching innocence. It seemed to her that far from being a free and generous spirit, she had often been anxious and desperate and had spent a lot of time doing laundry and worrying about money and feeling she owed so much to any man who took up with her. She did not think she was in love with Will then, but she liked his looks—his energetic body, so upright it seemed tal
ler than it was, his flung-back head, shiny high forehead, springy ruff of graying hair. She liked to watch him at rehearsals, or just talking to his students. How skilled and intrepid he seemed as a director, how potent a personality as he walked the high-school halls or the streets of Walley. And then the slightly quaint, admiring feelings he had for her, his courtesy as a lover, the foreign pleasantness of his house and his life with Cleata—all this made Gail feel like somebody getting a unique welcome in a place where perhaps she did not truly have a right to be. That did not matter then—
she had the upper hand.
So when did she stop having it? When he got used to
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sleeping with her when they moved in together, when they did so much work on the cottage by the river and it turned out that she was better at that kind of work than he was?
Was she a person who believed that somebody had to have the upper hand?
There came a time when just the tone of his voice, saying
"Your shoelace is undone" as she went ahead of him on a walk;—just that—could fill her with despair, warning her that they had crossed over into a bleak country where his disappointment in her was boundless, his contempt impossible to challenge. She would stumble eventually, break out in a rage—they would have days and nights of fierce hopelessness.
Then the breakthrough, the sweet reunion, the jokes, and bewildered relief. So it went on in their life—she couldn't really understand it or tell if it was like anybody else's. But the peaceful periods seemed to be getting longer, the dangers re-treating, and she had no inkling that he was waiting to meet somebody like this new person, Sandy, who would seem to him as alien and delightful as Gail herself had once been.
Will probably had no inkling of that, either.
He had never had much to say about Sandy—Sandra—