Mr. Watkins had fallen asleep. He was snoring. Mrs. Compton read her paper. The train creaked, slowed, and halted infirmly at another station. Blake could see the southbound platform, where a few passengers were waiting to go into the city. There was a workman with a lunch pail, a dressed-up woman, and a man with a suitcase. They stood apart from one another. Some advertisements were posted on the wall behind them. There was a picture of a couple drinking a toast in wine, a picture of a Cat’s Paw rubber heel, and a picture of a Hawaiian dancer. Their cheerful intent seemed to go no farther than the puddles of water on the platform and to expire there. The platform and the people on it looked lonely. The train drew away from the station into the scattered lights of a slum and then into the darkness of the country and the river.
“I want you to read my letter before we get to Shady Hill,” she said. “It’s on the seat. Pick it up. I would have mailed it to you, but I’ve been too sick to go out. I haven’t gone out for two weeks. I haven’t had any work for three months. I haven’t spoken to anybody but the landlady. Please read my letter.”
He picked up the letter from the seat where she had put it. The cheap paper felt abhorrent and filthy to his fingers. It was folded and refolded. “Dear Husband,” she had written, in that crazy, wandering hand, “they say that human love leads us to divine love, but is this true? I dream about you every night. I have such terrible desires. I have always had a gift for dreams. I dreamed on Tuesday of a volcano erupting with blood. When I was in the hospital they said they wanted to cure me but they only wanted to take away my self-respect. They only wanted me to dream about sewing and basketwork but I protected my gift for dreams. I’m clairvoyant. I can tell when the telephone is going to ring. I’ve never had a true friend in my whole life . . .”
The train stopped again. There was another platform, another picture of the couple drinking a toast, the rubber heel, and the Hawaiian dancer. Suddenly she pressed her face close to Blake’s again and whispered in his ear. “I know what you’re thinking. I can see it in your face. You’re thinking you can get away from me in Shady Hill, aren’t you? Oh, I’ve been planning this for weeks. It’s all I’ve had to think about. I won’t harm you if you’ll let me talk. I’ve been thinking about devils. I mean if there are devils in the world, if there are people in the world who represent evil, is it our duty to exterminate them? I know that you always prey on weak people. I can tell. Oh, sometimes I think that I ought to kill you. Sometimes I think you’re the only obstacle between me and my happiness. Sometimes . . .”
She touched Blake with the pistol. He felt the muzzle against his belly. The bullet, at that distance, would make a small hole where it entered, but it would rip out of his back a place as big as a soccer ball. He remembered the unburied dead he had seen in the war. The memory came in a rush: entrails, eyes, shattered bone, ordure, and other filth.
“All I’ve ever wanted in life is a little love,” she said. She lightened the pressure of the gun. Mr. Watkins still slept. Mrs. Compton was sitting calmly with her hands folded in her lap. The coach rocked gently, and the coats and mushroom-colored raincoats that hung between the windows swayed a little as the car moved. Blake’s elbow was on the window sill and his left shoe was on the guard above the steampipe. The car smelled like some dismal classroom. The passengers seemed asleep and apart, and Blake felt that he might never escape the smell of heat and wet clothing and the dimness of the light. He tried to summon the calculated self-deceptions with which he sometimes cheered himself, but he was left without any energy for hope or self-deception.
The conductor put his head in the door and said “Shady Hill, next, Shady Hill.”
“Now,” she said. “Now you get out ahead of me.”
Mr. Watkins waked suddenly, put on his coat and hat, and smiled at Mrs. Compton, who was gathering her parcels to her in a series of maternal gestures. They went to the door. Blake joined them, but neither of them spoke to him or seemed to notice the woman at his back. The conductor threw open the door, and Blake saw on the platform of the next car a few other neighbors who had missed the express, waiting patiently and tiredly in the wan light for their trip to end. He raised his head to see through the open door the abandoned mansion outside of town, a no-trespassing sign nailed to a tree, and then the oil tanks. The concrete abutments of the bridge passed, so close to the open door that he could have touched them. Then he saw the first of the lampposts on the north-bound platform, the sign “SHADY HILL” in black and gold, and the little lawn and flower bed kept up by the Improvement Association, and then the cab stand and a corner of the old-fashioned depot. It was raining again; it was pouring. He could hear the splash of water and see the lights reflected in puddles and in the shining pavement, and the idle sound of splashing and dripping formed in his mind a conception of shelter, so light and strange that it seemed to belong to a time of his life that he could not remember.
He went down the steps with her at his back. A dozen or so cars were waiting by the station with their motors running. A few people got off from each of the other coaches; he recognized most of them, but none of them offered to give him a ride. They walked separately or in pairs—purposefully out of the rain to the shelter of the platform, where the car horns called to them. It was time to go home, time for a drink, time for love, time for supper, and he could see the lights on the hill—lights by which children were being bathed, meat cooked, dishes washed—shining in the rain. One by one, the cars picked up the heads of families, until there were only four left. Two of the stranded passengers drove off in the only taxi the village had. “I’m sorry, darling,” a woman said tenderly to her husband when she drove up a few minutes later. “All our clocks are slow.” The last man looked at his watch, looked at the rain, and then walked off into it, and Blake saw him go as if they had some reason to say goodbye—not as we say goodbye to friends after a party but as we say goodbye when we are faced with an inexorable and unwanted parting of the spirit and the heart. The man’s footsteps sounded as he crossed the parking lot to the sidewalk, and then they were lost. In the station, a telephone began to ring. The ringing was loud, plaintive, evenly spaced, and unanswered. Someone wanted to know about the next train to Albany, but Mr. Flannagan, the stationmaster, had gone home an hour ago. He had turned on all his lights before he went away. They burned in the empty waiting room. They burned, tin-shaded, at intervals up and down the platform and with the peculiar sadness of dim and purposeless light. They lighted the Hawaiian dancer, the couple drinking a toast, the rubber heel.
“I’ve never been here before,” she said. “I thought it would look different. I didn’t think it would look so shabby. Let’s get out of the light. Go over there.”
His legs felt sore. All his strength was gone. “Go on,” she said.
North of the station there was a freight house and a coalyard and an inlet where the butcher and the baker and the man who ran the service station moored the dinghies from which they fished on Sundays, sunk now to the gunwales with the rain. As he walked toward the freight house, he saw a movement on the ground and heard a scraping sound, and then he saw a rat take its head out of a paper bag and regard him. The rat seized the bag in its teeth and dragged it into a culvert.
“Stop,” she said. “Turn around. Oh, I ought to feel sorry for you. Look at your poor face. But you don’t know what I’ve been through. I’m afraid to go out in the daylight. I’m afraid the blue sky will fall down on me. I’m like poor Chicken-Licken. I only feel like myself when it begins to get dark. But still and all I’m better than you. I still have good dreams sometimes. I dream about picnics and Heaven and the brotherhood of man, and about castles in the moonlight and a river with willow trees all along the edge of it and foreign cities, and after all I know more about love than you.”
He heard from off the dark river the drone of an outboard motor, a sound that drew slowly behind it across the dark water such a burden of clear, sweet memories of gone summers and gone pleasures that it made his flesh c
rawl, and he thought of dark in the mountains and the children singing. “They never wanted to cure me,” she said. “They . . .” The noise of a train coming down from the north drowned out her voice, but she went on talking. The noise filled his ears, and the windows where people ate, drank, slept, and read flew past. When the train had passed beyond the bridge, the noise grew distant, and he heard her screaming at him, “Kneel down! Kneel down! Do what I say. Kneel down!”
He got to his knees. He bent his head. “There,” she said. “You see, if you do what I say, I won’t harm you, because I really don’t want to harm you, I want to help you, but when I see your face it sometimes seems to me that I can’t help you. Sometimes it seems to me that if I were good and loving and sane—oh, much better than I am—sometimes it seems to me that if I were all these things and young and beautiful, too, and if I called to show you the right way, you wouldn’t heed me. Oh, I’m better than you, I’m better than you, and I shouldn’t waste my time or spoil my life like this. Put your face in the dirt. Put your face in the dirt! Do what I say. Put your face in the dirt.”
He fell forward in the filth. The coal skinned his face. He stretched out on the ground, weeping. “Now I feel better,” she said. “Now I can wash my hands of you, I can wash my hands of all this, because you see there is some kindness, some saneness in me that I can find again and use. I can wash my hands.” Then he heard her footsteps go away from him, over the rubble. He heard the clearer and more distant sound they made on the hard surface of the platform. He heard them diminish. He raised his head. He saw her climb the stairs of the wooden footbridge and cross it and go down to the other platform, where her figure in the dim light looked small, common, and harmless. He raised himself out of the dust—warily at first, until he saw by her attitude, her looks, that she had forgotten him; that she had completed what she had wanted to do, and that he was safe. He got to his feet and picked up his hat from the ground where it had fallen and walked home.
[1954]
ANN BEATTIE
DISTANT MUSIC
ON FRIDAY SHE ALWAYS SAT in the park, waiting for him to come. At one-thirty, he came to this park bench (if someone was already sitting there, he loitered around it), and then they would sit side by side, talking quietly, like Ingrid Bergman and Cary Grant in “Notorious.” Both believed in flying saucers and health food. They shared a hatred of laundromats, guilt about not sending presents to relatives on birthdays and at Christmas, and a dog—part weimaraner, part German shepherd—named Sam. She was twenty, and she worked in an office; she was pretty because she took a lot of time with makeup, the way a housewife who really cared might flute the edges of a piecrust with thumb and index finger. He was twenty-four, a graduate-school dropout (theater), who collaborated on songs with his friend Gus Greeley, and he wanted, he fervently wanted, to make it big as a songwriter. His mother was Greek and French, his father American. This girl, Sharon, was not the first woman who had fallen in love with Jack because he was so handsome. She took the subway to get to the bench, which was in Washington Square Park; he walked from the basement apartment he lived in. Whichever of them had Sam that day (they kept the dog on alternating weeks)bbrought him. They could do this because her job only required her to work from eight to one, and he worked at home. They had gotten the dog because they feared for its life. A man had come up to them on West Tenth Street carrying a cardboard box, smiling, and saying, “Does the little lady want a kitty cat?” They peered in side, “Puppies,” Jack said. “Well, who gives a damn?” the man had said, putting the box down, his face dark and contorted. Sharon and Jack had stared at the man; he had stared belligerently back. Neither of them was quite sure how things had suddenly turned ominous. She had wanted to get out of there right away, before the man took a swing at Jack, but to her surprise Jack smiled at the man and dipped into the box for a dog. He extracted the scrawny, wormy Sam. She took the dog first, because there was a veterinarian’s office close to her apartment. Once the dog was cured of its worms, she gave it to Jack to begin its training. In his apartment, the puppy would fix its eyes on the parallelogram of sunlight that sometimes appeared on the wood floor in the late morning—sniffing it, backing up, edging up to it at the border. In her apartment, the puppy’s object of fascination was a clarinet that a friend had left there when he moved. The puppy looked at it respectfully. She watched the dog for signs of maladjustment, wondering if it was too young to be shuttling back and forth, from home to home. (She herself had been raised by her mother, but she and her sister would fly to Seattle every summer to spend two months with their father.) The dog seemed happy enough.
At night, in Jack’s one-room apartment, they would sometimes lie with their heads at the foot of the bed, staring at the ornately carved oak headboard and the old-fashioned light attached to it, with the little sticker still on the shade that said “From home of Lady Astor. $4.00.” They had found the lamp in Ruckersville, Virginia, on the only long trip they ever took out of the city. On the bed with them there were usually sheets of music—songs that he was scoring. She would look at the pieces of paper with lyrics typed on them, and read them slowly to herself, appraisingly, as if they were poetry.
On weekends, they spent the days and nights together. There was a small but deep fireplace in his apartment, and when September came they would light a fire in the late afternoon, although it was not yet cold, and sometimes light a stick of sandalwood incense, and they would lean on each other or sit side by side, listening to Vivaldi. She knew very little about such music when she first met him, and much more about it by the time their first month had passed. There was no one thing she knew a great deal about—as he did about music—so there was really nothing that she could teach him.
“Where were you in 1974?” he asked her once.
“In school. In Ann Arbor.”
“What about 1975?”
“In Boston. Working at a gallery.”
“Where are you now?” he said.
She looked at him and frowned. “In New York,” she said.
He turned toward her and kissed her arm. “I know,” he said. “But why so serious?”
She knew that she was a serious person, and she liked it that he could make her smile. Sometimes, though, she did not quite understand him, so she was smiling now not out of appreciation but because she thought a smile would make things all right.
Carol, her closest friend, asked why she didn’t move in with him. She did not want to tell Carol that it was because she had not been asked, so she said that the room he lived in was very small and that during the day he liked solitude, so he could work. She was also not sure if she would move in if he did ask her. He gave her the impression sometimes that he was the serious one, not she. Perhaps “serious” was the wrong word; it was more that he seemed despondent. He would get into moods and not snap out of them; he would drink red wine and play Billie Holiday records, and shake his head and say that if he had not made it as a songwriter by now chances were that he would never make it. She was not really familiar with Billie Holiday until he began playing the records for her. He would play a song that Billie had recorded early in her career, then play another record of the same song as she had sung it later. He said that he preferred her ruined voice. Two songs in particular stuck in her mind. One was “Solitude,” and the first time she heard Billie Holiday sing the first three words, “In my solitude,” she felt a physical sensation, as if someone were drawing something sharp over her heart, very lightly. The other record she kept thinking of was “Gloomy Sunday.” He told her that it had been banned from the radio back then, because it was said that it had been responsible for suicides.
FOR Christmas that year, he gave her a small pearl ring that had been worn by his mother when she was a girl. The ring fitted perfectly; she only had to wiggle it slightly to get it to slide over the joint of her finger, and when it was in place it felt as if she were not wearing a ring at all. There were eight prongs holding the pearl in place. She often counted th
ings: how many panes in a window, how many slats in a bench. Then, for her birthday, in January, he gave her a silver chain with a small sapphire stone, to be worn on the wrist. She was delighted; she wouldn’t let him help her fasten the clasp.
“You like it?” he said. “That’s all I’ve got.”
She looked at him, a little startled. His mother had died the year before she met him; what he was saying was that he had given her the last of her things. There was a photograph of his mother on the bookcase—a black-and-white picture in a little silver frame of a smiling young woman, whose hair was barely darker than her skin. Because he kept the picture, she assumed that he worshiped his mother. One night he corrected that impression by saying that his mother had always tried to sing in her youth, when she had no voice, which had embarrassed everyone.
He said that she was a silent person; in the end, he said, you would have to say that she had done and said very little. He told Sharon that a few days after her death he and his father had gone through her possessions together, and in one of her drawers they had come upon a small wooden box shaped like a heart. Inside the box were two pieces of jewelry—the ring and the chain and sapphire. “So she kept some token, then,” his father had said, staring down into the little box. “You gave them to her as presents?” he had asked his father. “No,” his father had said apologetically. “They weren’t from me.” And then the two of them had stood there looking at each other, both understanding perfectly.
She said, “But what did you finally say to break the silence?”
“Something pointless, I’m sure,” he said.
She thought to herself that that might explain why he had not backed down, on Tenth Street, when the man offering the puppies took a stance as though he wanted to fight. Jack was used to hearing bad things—things that took him by surprise. He had learned to react coolly. Later that winter, when she told him that she loved him, his face had stayed expressionless a split second too long, and then he had smiled his slow smile and given her a kiss.
Wonderful Town: New York Stories from The New Yorker Page 3