Let Me Tell You: New Stories, Essays, and Other Writings

by Shirley Jackson

  Principle is a great inspiration, too. Sir Charles Grandison (who may be the perfect man) cannot marry the woman he loves, or even let her suspect that he loves her, because he feels himself responsible to another woman who is devoted to him. Clarissa Harlowe is abducted and seduced, but she cannot marry Lovelace, her repentant seducer, although offered riches, a title, the forgiveness of her family, and perfect respect from all her friends, because her conception of herself as honorable has been destroyed. Pamela is kidnapped, besieged, commanded, bribed, tormented, and deceived, but cannot bring herself to yield to the irrepressible Mr. B. until she is offered a genuine wedding ring. It all sounds like the most outrageous nonsense, and yet what is it but Richardson’s exaggerated notion of honor? And is it possible that honor, however exaggerated, can really be ridiculous? Pride of self, dignity, respect: these still exist today, one hopes, and although Pamela and Clarissa and dear Sir Charles keep their values in an area once removed from the area in which our values lie today, are they so foolish? Is a sinful man the less sinful because his crimes are against a standard more rarified than ours? Lovelace, who ruined Clarissa, is not perhaps as bad a man as Faulkner’s Popeye, but Lovelace is certainly as real a sinner in his sphere; moreover, he has more time to be bad and to be subtle about it than Popeye.

  The goodness of Richardson’s good characters—and all his characters are very sharply divided, half being devils, half angels—is in the same terms as the badness: That is, they are good in a sense that, translated into terms we understand fully, comes out as qualities we like and admire and would like to own ourselves.

  Kindness, the third attribute, is an outlandish word to use about a writer, or about writing, or about anything except people and the way they feel. And yet kindness is a strong quality felt in Richardson’s writing, the sort of kindness that evokes the tremendous tenderness the man himself must have felt, and tossed about embarrassingly on everyone who came his way. His characters, for instance, are nice to one another. One of them may abhor another; some of them—again, like Lovelace—outrage every precious tenet of a rigid morality and bring this outrage to bear on others; frequently these precise, lazy people are cross with one another, and stirred to anger. Harriet Byron was completely out of patience by about volume eight, when Sir Charles was sedately making absolutely sure that no conceivable shred of formality had been inadvertently overlooked. Nevertheless, implicit in every word, in every comment upon a comment, is the deep conviction of sympathy: not “We are all from the same mind: Richardson’s,” but “We are all from the same people: the mortals.” That is a valuable thing to record, and perhaps it takes ten volumes to put it across.

  There is very little humor in Richardson, and, to be honest, some of the books are pretty heavy going—Pamela’s reflections on the education of her children, or some of the long stretches in Grandison where everyone takes a breather from the burning question (is it honorable or is it not?) and they just sit back and write long letters scrutinizing themselves—but without every word of it you couldn’t really be satisfied that Sir Charles ought to propose or that Pamela deserves her husband. The richness of it is in those long muddy sections, the dark background of the bright tapestry. After Pamela’s prolonged musings on children, we are disrespectfully delighted to see Mr. B. contemplate an elopement with a designing widow.

  It takes a long time to read Richardson, and even so, he is only that stuffy little man a long way back—down the length of years to the eighteenth century, standing beyond even Thackeray and just behind Fielding—but peace, principle, and kindness are qualities that may even survive our own distempered time.

  Private Showing

  When the private showing of the movie Lizzie, made from my novel The Bird’s Nest, was scheduled in New York, I could not see it because my small son Barry had chickenpox. I had put the bottle of calamine lotion down on the telephone table to pick up the phone and said, no, I could not come to New York because I had chickenpox—and, I could have added, because there was a button off my blue coat, and my only decent dress, the brown one, had a large spot on the front, and the living room had to be vacuumed, and I had so many letters to write, and anyway, the first meeting with my Lizzie was something I had been trembling over for nearly a year, and I honestly lacked the courage to make the first move. When I finally put down the phone I tried to pick up the bottle of calamine lotion and could not close my fingers around it; the stain is still there on the hall floor, but—I have met Lizzie.

  Out of consideration for the chickenpox, the magicians in charge of such things arranged to send Lizzie to me, and so I met her face-to-face at last on my home field, as it were, in our small local movie theater here in Vermont. Out of my many conflicting reactions, the only one I can isolate clearly is excitement; nothing so surprising has ever happened to me.

  As long as I can remember, the act of writing has been a private one. A book is a comfortable stack of pages of yellow copy paper, with typed words on them, a familiar and fitted country in which I am perfectly at home, able to find a paragraph or a line without difficulty, able to recognize from the look of a page just where it belongs. A book translated into galley proofs is no longer mine—the pages are different, the paper is not yellow, the words are printed and look smaller; the whole country has been tidied and set in order. When the book is bound, there is the unfamiliar jacket and the sudden odd weight of it, and other people—strangers!—are holding it in their hands. I can read my own books in print the way I read and reread old books from my childhood, and the difference between The Bird’s Nest and, say, Northanger Abbey is one of literary skill, not degree of familiarity; I can remember more passages from Jane Eyre than I can from any of my own books.

  I have never, in all the years I have been writing, heard my own words read or spoken aloud, except by myself, unwillingly, and under pressure. That translation is too much for me; I cannot imagine how these words will sound; on the yellow page they look as though they will sound all right, and since they are going to be read, I trust, in silence, it seems to me most important that they look as though they will sound all right. I once heard a tape of myself reading one of my own stories and it sounded silly. The voice, of course, was not mine, and the words had been subtly changed; they were not on yellow paper at all, they were strange on that infernal tape.

  All this, of course, changed, because of my unnerving encounter with my own words spoken out loud, and my own people walking around, in the movie Lizzie. It was something like being hit on the head with a rock: Everything was very bright for a second, and then it got kind of wavy. I sat there watching Lizzie with my mouth half-open, thinking—and there is really no other sensation like it—Why, there is Doctor Wright; he is taller than I remembered. It was suddenly clear that through some gap in time these were the real people, and I had stolen them for my book. Elizabeth talked and looked just exactly as I remembered her (remembered her from where? from the movie, from the book?) and Aunt Morgen and Doctor Wright were there, and it was like a family reunion, although I kept wondering if they recognized me.

  It was exciting, too, because—as in any family reunion—I knew pretty well how everyone was going to behave, but still I could not tell when the explosions were coming. At one point I wanted to tell Morgen to look out—if she kept on talking to Elizabeth like that there would be trouble, even though I knew that Morgen always talked like that. It isn’t fair, I kept on thinking, the way Morgen keeps picking on that poor child, when everyone knows Elizabeth isn’t well, and then I had to shake my head and tell myself not to worry, it’s only a movie; everything will come out all right.

  I took my four children to see what they were unashamedly calling “Mommy’s movie,” after explaining with some care that there would be no serial, no cartoon, no popcorn stand open, no candy, but that at least they could sit wherever they liked, because there would also be no audience. It was Barry’s second movie—the other one having been Cinderella—and he approved wholeheartedly of the MG
M lion at the beginning; he felt that I had achieved a kind of masterstroke by arranging to have my movie begin with that lion roaring. For the rest of it, he pointed out that it was not very much different from Cinderella, after all.

  Sally broke into enthusiastic cheering at the sight of my name on the screen and had to be violently hushed by her horribly embarrassed father and brother, one on each side holding a hand over her mouth. The movie itself enchanted her; she screamed once when Lizzie threw a bottle at Aunt Morgen, and clapped wildly when Doctor Lone Ranger Wright came riding to the rescue.

  Jannie, whose standards are noticeably more mature than her younger sister’s, found the movie experience deeply disturbing. She sat through the entire show in silence, refused to join in the later discussion at the dinner table, and had nightmares all night. Under other circumstances, I had realized by then, it would not be the kind of movie we would take Jannie to at all; I could measure the extent of its disturbance to her by my own reactions.

  Laurie, on the other hand, thoroughly enjoyed it; he is fourteen, and has spent perhaps an accumulated four or five years at Saturday matinees, regarding beasts from Planet X and alien minds plotting to take over Earth. He had no difficulty whatsoever in identifying the Mad Scientist, and a Monstrous Intelligence (though human, not movie prop construction) that disguises itself behind a smiling face, and a pretty good, even cool, piano. Our conversation at the dinner table that evening took the form of “Well, I think the best thing in Mommy’s movie was the part where…”

  Later, I went upstairs to investigate a suspicious silence in the playroom, and found Barry lying back in a chair with his eyes closed while Sally made mystic passes before his eyes. They explained that they were playing doctor.

  Good Old House

  When we came to occupy our present house, we were not at first accepted, although the neighbors welcomed us and took us in with the deep New England courtesy that is half tolerance and half humor. We shortly accustomed ourselves to trading at certain stores, and we bought our coal locally, and we found a doctor and a dentist and a dog, and we went to the local movie theater and enrolled Laurie in the local nursery school—still, the old house had grave reservations about us and would allow us to feel only provisionally at home. Twice, the first week we were there, I awoke with nightmares of the old house shaking over me, malevolent and cruel, and after that, during our first few months, I frequently found myself awake after having walked in my sleep toward the front door, and once I found myself out between the pillars, as if running away.

  Our cats, who had lived with us for years in New York, could find no resting place in this house; all the hallowed places for cats to sleep—the spot behind the stove, the wooden rocker—would not countenance city cats, and turned them away, and our New York furniture had somehow become different, so that the armchair in which young Shax had always slept before was off in a cold corner and had no sun in the afternoons. Laurie went off pleasantly from the house to nursery school, he played happily in the yard and through the attics, but there was a corner of the hall where a wolf lived, and he would not go near it alone.

  We had been there only about three weeks when I found an ad in the local paper for a woman who wanted to do housework, and such things being fairly rare in our town, I telephoned her immediately and asked if she could come to work for us. She was pleased to have an answer to her ad so quickly, and terms were quickly and easily settled between us. I agreed to her charges, she approved of the children, we reached an honorable agreement about laundry, and then she asked, her voice trim and clean over the phone, “I clean forgot to ask you, Missus, where do you live?”

  “In the old Ogilvie house,” I said readily. “The one with the pill—”

  “Where?” she asked. “The old Ogilvie house, did you say? The Fielding place?”

  “That’s right,” I said. “The one with—”

  “I’m sorry, Missus,” she said, and her voice sounded really regretful. “I guess I can’t come work for you after all.”

  “Why not?”

  “Well…” she said. “It’s too far,” she said.

  “I’ll take care of your transportation.”

  “Well…” she said. “I guess I better not.”

  “But why?” I asked, but she had hung up.

  No one liked to come into the house. We discovered much later that the painters and plumbers and carpenters Mr. Fielding had hired before we came had demanded extravagantly high pay, and Mr. Fielding had agreed to stay with them all the time they worked in the house. My grocer, who was very helpful about delivering orders, could never find a delivery boy who would leave my groceries any closer to the house than the end of the lawn. Our neighbors would stand and talk interminably at the front door or the back door, but they would never come inside, and the attempts I made to invite them in for tea met with faint, but polite, incredulity.

  Toward the end of our first month, the painter arrived to do the outside of the house. As always, we were not consulted. The house had always been white with green trim, as were all the other houses on the block, and I suppose all the other houses in New England, and the painter did not for a minute imagine that anything else would be required of him; indeed, I doubt if he owned any other colors of paint. The first day he worked I went out to talk to him, and took him out a cup of coffee; he was on a ladder painting the pillars.

  “Nice to see the old house cleaned up,” he said, after we had spoken about the weather and had taken care of such other conversational preliminaries as the rent we paid for the house, my husband’s income, and our opinion of the town.

  “I can’t believe it’s the same house we saw last year,” I said. I turned, as I frequently did, to look through the glass panes of the front door into our pleasant light hall, with the dining room showing beyond and the bright curtains and the pretty rugs and the lines of plants against the windows. “I’m so happy here,” I said, realizing as I said it that I was.

  “You know,” the painter said, applying himself industriously to the pillar, “it don’t seem to matter much what folks get to thinking about a house; when you get people living there, it all changes.”

  “This house has seen a lot of people going in and out.”

  “It’s a good old house,” he said. “Spite of what they say, it’s a good solid house; not many like it nowadays.” He turned and waved the paintbrush at me. “Kids wouldn’t go past it at night,” he said.

  “I didn’t know that,” I said. “Do they feel any different now?”

  “Well, no,” the painter said. He seemed afraid that he might have hurt my feelings, because he added quickly, “It’s a good old house, though.”

  There was another strange quality to the house; it had an odd effect on the things in it—never the old things, of course; they seemed to belong and to understand—but only our newer things, such as the living room clock, which had been a wedding present and had worked perfectly well until we moved into this old house. It stopped every day at five minutes to five. For a little while I thought it was an eccentricity of my own, that perhaps I did not wind it enough, or perhaps I had noticed that once or twice it had stopped near five o’clock and so fell to believing that it stopped every day. I made a point of winding it carefully, and then I got so that I was checking it regularly, and I would glance at it every time I passed the living room, and finally I came to accept as natural the fact that it would stop every day at five minutes to five, and when the five o’clock whistles blew at the lumberyard I went in and restarted the clock. It became an almost habitual small gesture, like checking to see if the children were covered at night, and I timed myself by it, knowing that when I had to restart the clock it was time to start making the children’s supper.

  The window in the back bedroom was another thing. It was ordinary glass; I knew that because I had had a glazier in to change it once. But no matter when you looked out of it, and no matter what the weather was like outside, it was opaque, as though a cloth were ove
r the outside of it. When the glazier was working on it and had taken out the glass, he had held the new glass outside the window and looked through it. I could see his face clearly, as though through an ordinary window, and then he set the new pane of glass into the frame and dusted his hands and closed the window, and we looked through it together, and it was opaque. When we opened the window and looked out again we saw the maple trees outside and the sky; the glazier, who was a local man, smiled and shrugged and refused his pay, and touched one of the pillars gently as he went down the steps.

  Still another troubling thing was the way small articles disappeared. I realized that in a large house with small children, things are always disappearing anyway, but this was different; it was as though there were pockets of time in the house into which things dropped for a little while and then came back. Small things disappeared, such as scissors and pencils and spoons, all things you might expect to lose but of course do not expect to find again back in their accustomed places. Sometimes it was larger things that stepped out, such as kitchen utensils. I remember one evening I went into the pantry to get a strainer off the shelf, groping absentmindedly the way you do when a thing is always kept in the same place and you reach for it without looking, and it was not there. I spent the next two days taking the pantry apart to find the strainer, and I looked as far afield as the playroom and the tool chest, and at the end of the two days I went into the pantry absentmindedly and put up my hand to take down the strainer and it was there.

  Once, a little round rug disappeared for almost a week from the study, as though it had been absorbed into the floor, and reappeared after a while looking the same as ever, and so natural that for a while we forgot to be surprised that it was there. Several times I left groceries on the kitchen table and found them later neatly put away in the pantry; one reason I am sure I do not do this myself in a sort of trance is that the refrigerator is never used—butter and milk and such are set on the pantry windowsill, where it is cool. Once, buttons appeared, newly sewn onto my son’s jacket, and another time my daughter’s stuffed lamb had a blue ribbon removed and a pink one substituted. A day or so later the blue ribbon was back, washed and ironed.