Not that she gets much pleasure from it, either; no gourmet, she, forever meditating the exquisite difference between a mayonnaise sharpened with a few drops of Orleans vinegar or one pointed up with a squeeze of fresh lemon juice. No. Abby never aspired so high, nor would she ever think to do so even if she had the option; she is satisfied to stick to simple gluttony and she eschews all overtones of the sensuality of indulgence. Since she relishes not one single mouthful of the food she eats, she knows her ceaseless gluttony is no transgression.
Here they lie in bed together, living embodiments of two of the Seven Deadly Sins, but he knows his avarice is no offence because he never spends any money and she knows she is not greedy because the grub she shovels down gives her dyspepsia.
She employs an Irish cook and Bridget’s rough-and-ready hand in the kitchen fulfils Abby’s every criterion. Bread, meat, cabbage, potatoes – Abby was made for the heavy food that made her. Bridget merrily slaps on the table boiled dinners, boiled fish, cornmeal mush, Indian pudding, johnnycakes, cookies.
But those cookies . . . ah! there you touch on Abby’s little weakness. Molasses cookies, oatmeal cookies, raisin cookies. But when she tackles a sticky brownie, oozing chocolate, then she feels a queasy sense of having gone almost too far, that sin might be just around the corner if her stomach did not immediately palpitate like a guilty conscience.
Her flannel nightdress is cut on the same lines as his nightshirt except for the limp flannel frill round the neck. She weighs two hundred pounds. She is five feet nothing tall. The bed sags on her side. It is the bed in which his first wife died.
Last night, they dosed themselves with castor oil, due to the indisposition that kept them both awake and vomiting the whole night before that; the copious results of their purges brim the chamber-pots beneath the bed. It is fit to make a sewer faint.
Back to back they lie. You could rest a sword in the space between the old man and his wife, between the old man’s backbone, the only rigid thing he ever offered her, and her soft, warm, enormous bum. Their purges flailed them. Their faces show up decomposing green in the gloom of the curtained room, in which the air is too thick for flies to move.
The youngest daughter dreams behind the locked door.
Look at the sleeping beauty!
She threw back the top sheet and her window is wide open but there is no breeze, outside, this morning, to shiver deliciously the screen. Bright sun floods the blinds so that the linen-coloured light shows us how Lizzie has gone to bed as for a levée in a pretty, ruffled nightdress of snatched white muslin with ribbons of pastel pink satin threaded through the eyelets of the lace, for is it not the ‘naughty Nineties’ everywhere but dour Fall River? Don’t the gilded steamships of the Fall River Line signify all the squandered luxury of the Gilded Age within their mahogany and chandeliered interiors? But don’t they sail away from Fall River, to where, elsewhere, it is the Belle Epoque? In New York, Paris, London, champagne corks pop, in Monte Carlo the bank is broken, women fall backwards in a crisp meringue of petticoats for fun and profit, but not in Fall River. Oh, no. So, in the immutable privacy of her bedroom, for her own delight, Lizzie puts on a rich girl’s pretty nightdress, although she lives in a mean house, because she is a rich girl, too.
But she is plain.
The hem of her nightdress is rucked up above her knees because she is a restless sleeper. Her light, dry, reddish hair, crackling with static, slipping loose from the night-time plait, crisps and stutters over the square pillow at which she clutches as she sprawls on her stomach, having rested her cheek on the starched pillowcase for coolness’ sake at some earlier hour.
Lizzie was not an affectionate diminutive but the name with which she had been christened. Since she would always be known as ‘Lizzie’, so her father reasoned, why burden her with the effete and fancy prolongation of ‘Elizabeth’? A miser in everything, he even cropped off half her name before he gave it to her. So ‘Lizzie’ it was, stark and unadorned, and she is a motherless child, orphaned at two years old, poor thing.
Now she is two-and-thirty and yet the memory of that mother she cannot remember remains an abiding source of grief: ‘If mother had lived, everything would have been different.’
How? Why? Different in what way? She wouldn’t have been able to answer that, lost in a nostalgia for unknown love. Yet how could she have been loved better than by her sister, Emma, who lavished the pent-up treasures of a New England spinster’s heart upon the little thing? Different, perhaps, because her natural mother, the first Mrs Borden, subject as she was to fits of sudden, wild, inexplicable rage, might have taken the hatchet to Old Borden on her own account? But Lizzie loves her father. All are agreed on that. Lizzie adores the adoring father who, after her mother died, took to himself another wife.
Her bare feet twitch a little, like those of a dog dreaming of rabbits. Her sleep is thin and unsatisfying, full of vague terrors and indeterminate menaces to which she cannot put a name or form once she is awake. Sleep opens within her a disorderly house. But all she knows is, she sleeps badly, and this last, stifling night has been troubled, too, by vague nausea and the gripes of her female pain; her room is harsh with the metallic smell of menstrual blood.
Yesterday evening she slipped out of the house to visit a woman friend. Lizzie was agitated; she kept picking nervously at the shirring on the front of her dress.
‘I am afraid . . . that somebody . . . will do something,’ said Lizzie.
‘Mrs Borden . . .’ and here Lizzie lowered her voice and her eyes looked everywhere in the room except at Miss Russell . . . ‘Mrs Borden – oh! will you ever believe? Mrs Borden thinks somebody is trying to poison us!’
She used to call her stepmother ‘mother’, as duty bade, but, after a quarrel about money after her father deeded half a slum property to her stepmother five years before, Lizzie always, with cool scrupulosity, spoke of ‘Mrs Borden’ when she was forced to speak of her, and called her ‘Mrs Borden’ to her face, too.
‘Last night, Mrs Borden and poor father were so sick! I heard them, through the wall. And, as for me, I haven’t felt myself all day, I have felt so strange. So very . . . strange.’
For there were those somnambulist fits. Since a child, she endured occasional ‘peculiar spells’, as the idiom of the place and time called odd lapses of behaviour, unexpected, involuntary trances, moments of disconnection. Those times when the mind misses a beat. Miss Russell hastened to discover an explanation within reason; she was embarrassed to mention the ‘peculiar spells’. Everyone knew there was nothing odd about the Borden girls.
‘Something you ate? It must have been something you have eaten. What was yesterday’s supper?’ solicitously queried kind Miss Russell.
‘Warmed-over swordfish. We had it hot for dinner though I could not take much. Then Bridget heated up the leftovers for supper but, again, for myself, I could only get down a forkful. Mrs Borden ate up the remains and scoured her plate with her bread. She smacked her lips but then was sick all night.’ (Note of smugness, here.)
‘Oh, Lizzie! In all this heat, this dreadful heat! Twice-cooked fish! You know how quickly fish goes off in this heat! Bridget should have known better than to give you twice-cooked fish!’
It was Lizzie’s difficult time of the month, too; her friend could tell by a certain haggard, glazed look on Lizzie’s face. Yet her gentility forbade her to mention that. But how could Lizzie have got it into her head that the entire household was under siege from malign forces without?
‘There have been threats,’ Lizzie pursued remorselessly, keeping her eyes on her nervous fingertips. ‘So many people, you understand, dislike father.’
This cannot be denied. Miss Russell politely remained mute.
‘Mrs Borden was so very sick she called the doctor in and Father was abusive towards the doctor and shouted at him and told him he would not pay a doctor’s bills whilst we had our own good castor oil in the house. He shouted at the doctor and all the neighbours heard an
d I was so ashamed. There is a man, you see . . .’ and here she ducked her head, while her short, pale eyelashes beat on her cheek bones . . . ‘such a man, a dark man, with the aspect, yes of death upon his face, Miss Russell, a dark man I’ve seen outside the house at odd, at unexpected hours, early in the morning, late at night, whenever I cannot sleep in this dreadful shade if I raise the blind and peep out, there I see him in the shadows of the pear trees, in the yard, a dark man . . . perhaps he puts poison in the milk, in the mornings, after the milkman fills his can. Perhaps he poisons the ice, when the iceman comes.’
‘How long has he been haunting you?’ asked Miss Russell, properly dismayed.
‘Since . . . the burglary,’ said Lizzie and suddenly looked Miss Russell full in the face with a kind of triumph. How large her eyes were; prominent, yet veiled. And her well-manicured fingers went on pecking away at the front of her dress as if she were trying to unpick the shirring.
Miss Russell knew, she just knew, this dark man was a figment of Lizzie’s imagination. All in a rush, she lost patience with the girl; dark men standing outside her bedroom window, indeed! Yet she was kind and cast about for ways to reassure.
‘But Bridget is up and about when the milkman, the iceman call and the whole street is busy and bustling, too; who would dare to put poison in either milk or ice-bucket while half of Second Street looks on? Oh, Lizzie, it is the dreadful summer, the heat, the intolerable heat that’s put us all out of sorts, makes us fractious and nervous, makes us sick. So easy to imagine things in this terrible weather, that taints the food and sows worms in the mind . . . I thought you’d planned to go away, Lizzie, to the ocean. Didn’t you plan to take a little holiday, by the sea? Oh, do go! Sea air would blow away these silly fancies!’
Lizzie neither nods nor shakes her head but continues to worry at her shirring. For does she not have important business in Fall River? Only that morning, had she not been down to the drug-store to try to buy some prussic acid herself? But how can she tell kind Miss Russell she is gripped by an imperious need to stay in Fall River and murder her parents?
She went to the drug-store on the corner of Main Street in order to buy prussic acid but nobody would sell it to her, so she came home empty-handed. Had all that talk of poison in the vomiting house put her in mind of poison? The autopsy will reveal no trace of poison in the stomachs of either parent. She did not try to poison them; she only had it in mind to poison them. But she had been unable to buy poison. The use of poison had been denied her; so what can she be planning, now?
‘And this dark man,’ she pursued to the unwilling Miss Russell, ‘oh! I have seen the moon glint upon an axe!’
When she wakes up, she can never remember her dreams; she only remembers she slept badly.
Hers is a pleasant room of not ungenerous dimensions, seeing the house is so very small. Besides the bed and the dresser, there is a sofa and a desk; it is her bedroom and also her sitting room and her office, too, for the desk is stacked with account books of the various charitable organisations with which she occupies her ample spare time. The Fruit and Flower Mission, under whose auspices she visits the indigent old in hospital with gifts; the Women’s Christian Temperance Union, for whom she extracts signatures for petitions against the Demon Drink; Christian Endeavour, whatever that is – this is the golden age of good works and she flings herself into committees with a vengeance. What would the daughters of the rich do with themselves if the poor ceased to exist?
There is the Newsboys Thanksgiving Dinner Fund; and the Horsetrough Association; and the Chinese Conversion Association – no class nor kind is safe from her merciless charity.
Bureau; dressing-table; closet; bed; sofa. She spends her days in this room, moving between each of these dull items of furniture in a circumscribed, undeviating, planetary round. She loves her privacy, she loves her room, she locks herself up in it all day. A shelf contains a book or two: Heroes of the Mission Field, The Romance of Trade, What Katy Did. On the walls, framed photographs of high-school friends, sentimentally inscribed, with, tucked inside one frame, a picture postcard showing a black kitten peeking through a horseshoe. A watercolour of a Cape Cod seascape executed with poignant amateur incompetence. A monochrome photograph or two of works of art, a Delia Robbia madonna and the Mona Lisa; these she bought in the Uffizi and the Louvre respectively when she went to Europe.
Europe!
For don’t you remember what Katy did next? The story-book heroine took the steamship to smoky old London, to elegant, fascinating Paris, to sunny, antique Rome and Florence, the story-book heroine sees Europe reveal itself before her like an interesting series of magic-lantern slides on a gigantic screen. All is present and all unreal. The Tower of London; click. Notre Dame; click. The Sistine Chapel; click. Then the lights go out and she is in the dark again.
Of this journey she retained only the most circumspect of souvenirs, that madonna, that Mona Lisa, reproductions of objects of art consecrated by a universal approval of taste. If she came back with a bag full of memories stamped ‘Never to be Forgotten’, she put the bag away under the bed on which she had dreamed of the world before she set out to see it and on which, at home again, she continued to dream, the dream having been transformed not into lived experience but into memory, which is only another kind of dreaming.
Wistfully: ‘When I was in Florence . . .’
But then, with pleasure, she corrects herself: ‘When we were in Florence . . .’
Because a good deal, in fact most, of the gratification the trip gave her came from having set out from Fall River with a select group of the daughters of respectable and affluent mill-owners. Once away from Second Street, she was able to move comfortably in the segment of Fall River society to which she belonged by right of old name and new money but from which, when she was at home, her father’s plentiful personal eccentricities excluded her. Sharing bedrooms, sharing state-rooms, sharing berths, the girls travelled together in a genteel gaggle that bore its doom already upon it, for they were the girls who would not marry, now, and any pleasure they might have obtained from the variety and excitement of the trip was spoiled in advance by the knowledge they were eating up what might have been their own wedding-cake, using up what should have been, if they’d had any luck, their marriage settlements.
All girls pushing thirty, privileged to go out and look at the world before they resigned themselves to the thin condition of New England spinsterhood; but it was a case of look, don’t touch. They knew they must not get their hands dirtied or their dresses crushed by the world, while their affectionate companionship en route had a certain steadfast, determined quality about it as they bravely made the best of the second-best.
It was a sour trip, in some ways, sour; and it was a round trip, it ended at the sour place from where it had set out. Home, again; the narrow house, the rooms all locked like those in Bluebeard’s castle, and the fat, white stepmother whom nobody loves sitting in the middle of the spider web, she has not budged a single inch while Lizzie was away but she has grown fatter.
This stepmother oppressed her like a spell.
The days open their cramped spaces into other cramped spaces and old furniture and never anything to look forward to, nothing.
When Old Borden dug in his pocket to shell out for Lizzie’s trip to Europe, the eye of God on the pyramid blinked to see daylight, but no extravagance is too excessive for the miser’s younger daughter who is the wild card in his house and, it seems, can have anything she wants, play ducks and drakes with her father’s silver dollars if it so pleases her. He pays all her dressmakers’ bills on the dot and how she loves to dress up fine! She is addicted to dandyism. He gives her each week in pin-money the same as the cook gets for wages and Lizzie gives that which she does not spend on personal adornment to the deserving poor.
He would give his Lizzie anything, anything in the world that lives under the green sign of the dollar.
She would like a pet, a kitten or a puppy, she loves small ani
mals and birds, too, poor, helpless things. She piles high the bird-table all winter. She used to keep some white pouter pigeons in the disused stable, the kind that look like shuttlecocks and go ‘vroo croo’, soft as a cloud.
Surviving photographs of Lizzie Borden show a face it is difficult to look at as if you knew nothing about her; coming events cast their shadow across her face, or else you see the shadows these events have cast – something terrible, something ominous in this face with its jutting, rectangular jaw and those mad eyes of the New England saints, eyes that belong to a person who does not listen to you . . . fanatic’s eyes, you might say, if you knew nothing about her. If you were sorting through a box of old photographs in a junk shop and came across this particular, sepia, faded face above the choked collars of the 1890s, you might murmur when you saw her: ‘Oh, what big eyes you have!’ as Red Riding Hood said to the wolf, but then you might not even pause to pick her out and look at her more closely, for hers is not, in itself, a striking face.
But as soon as the face has a name, once you recognise her, when you know who she is and what it was she did, the face becomes as if of one possessed, and now it haunts you, you look at it again and again, it secretes mystery.
This woman, with her jaw of a concentration-camp attendant, and such eyes . . .
In her old age, she wore pince-nez, and truly with the years the mad light has departed from those eyes or else is deflected by her glasses – if, indeed, it was a mad light, in the first place, for don’t we all conceal somewhere photographs of ourselves that make us look like crazed assassins? And, in those early photographs of her young womanhood, she herself does not look so much like a crazed assassin as somebody in extreme solitude, oblivious of that camera in whose direction she obscurely smiles, so that it would not surprise you to learn that she is blind.
There is a mirror on the dresser in which she sometimes looks at those times when time snaps in two and then she sees herself with blind, clairvoyant eyes, as though she were another person.
Burning Your Boats Page 42