She in her turn whispered something, but I couldn't quite catch it. Was it a simple thank you, or some other message in - could it be? - a foreign language?
She turned away. The light streaming out from her was so dazzling I had to shut my eyes. I hadn't heard, I couldn't see. Darkness moved closer. Applause battered my ears like beating wings. I staggered and almost fell.
Some alert functionary caught my arm and slotted me back into my chair. Back into obscurity. Back into the long shadow cast by Laura. Out of harm's way.
But the old wound has split open, the invisible blood pours forth. Soon I'll be emptied.
The silver box
The orange tulips are coming out, crumpled and raggedy like the stragglers from some returning army. I greet them with relief, as if waving from a bombed-out building; still, they must make their way as best they can, without much help from me. Sometimes I poke around in the debris of the back garden, clearing away dry stalks and fallen leaves, but that's about as far as I go. I can't kneel very well any more, I can't shove my hands into the dirt.
Yesterday I went to the doctor, to see about these dizzy spells. He told me that I have developed what used to be called a heart, as if healthy people didn't have one. It seems I will not after all keep on living forever, merely getting smaller and greyer and dustier, like the Sibyl in her bottle. Having long ago whispered I want to die, I now realize that this wish will indeed be fulfilled, and sooner rather than later. No matter that I've changed my mind about it.
I've wrapped myself in a shawl in order to sit outside, sheltered by the overhang of the back porch, at a scarred wooden table I had Walter bring in from the garage. It held the usual things, leftovers from previous owners: a collection of dried-out paint cans, a stack of asphalt shingles, a jar half-filled with rusty nails, a coil of picture wire. Mummified sparrows, mouse nests of mattress stuffing. Walter washed it off with Javex, but it still smells of mice.
Laid out in front of me are a cup of tea, an apple cut into quarters, and a pad of paper with blue lines on it, like men's pyjamas once. I've bought a new pen as well, a cheap one, black plastic with a rolling tip. I remember my first fountain pen, how sleek it felt, how blue the ink made my fingers. It was Bakelite, with silver trim. The year was 1929. I was thirteen. Laura borrowed this pen - without asking, as she borrowed everything - then broke it, effortlessly. I forgave her, of course. I always did; I had to, because there were only the two of us. The two of us on our thorn-encircled island, waiting for rescue; and, on the mainland, everyone else.
For whom am I writing this? For myself? I think not. I have no picture of myself reading it over at a later time, later time having become problematical. For some stranger, in the future, after I'm dead? I have no such ambition, or no such hope.
Perhaps I write for no one. Perhaps for the same person children are writing for, when they scrawl their names in the snow.
I'm not as swift as I was. My fingers are stiff and clumsy, the pen wavers and rambles, it takes me a long time to form the words. And yet I persist, hunched over as if sewing by moonlight.
When I look in the mirror I see an old woman; or not old, because nobody is allowed to be old any more. Older, then. Sometimes I see an older woman who might look like the grandmother I never knew, or like my own mother, if she'd managed to reach this age. But sometimes I see instead the young girl's face I once spent so much time rearranging and deploring, drowned and floating just beneath my present face, which seems - especially in the afternoons, with the light on a slant - so loose and transparent I could peel it off like a stocking.
The doctor says I need to walk - every day, he says, for my heart. I would rather not. It isn't the idea of the walking that bothers me, it's the going out: I feel too much on show. Do I imagine it, the staring, the whispering? Perhaps, perhaps not. I am after all a local fixture, like a brick-strewn vacant lot where some important building used to stand.
The temptation is to stay inside; to subside into the kind of recluse whom neighbourhood children regard with derision and a little awe; to let the hedges and weeds grow up, to allow the doors to rust shut, to lie on my bed in some gown-shaped garment and let my hair lengthen and spread out over the pillow and my fingernails to sprout into claws, while candle wax drips onto the carpet. But long ago I made a choice between classicism and romanticism. I prefer to be upright and contained - an urn in daylight.
Perhaps I should not have moved back here to live. But by that time I couldn't think of anywhere else to go. As Reenie used to say, Better the devil you know.
Today I made the effort. I went out, I walked.I walked as far as the cemetery: one needs a goal for these otherwise witless excursions. I wore my broad-brimmed straw hat to cut the glare, and my tinted glasses, and took my cane to feel for the curbs. Also a plastic shopping bag.
I went along Erie Street, past a drycleaner's, a portrait photographer's, the few other main-street stores that have managed to survive the drainage caused by the malls on the edge of town. Then Betty's Luncheonette, which is under new ownership again: sooner or later its proprietors get fed up, or die, or move to Florida. Betty's now has a patio garden, where the tourists can sit in the sun and fry to a crisp; it's in the back, that little square of cracked cement where they used to keep the garbage cans. They offer tortellini and cappuccino, boldly proclaimed in the window as if everyone in town just naturally knows what they are. Well, they do by now; they've had a try, if only to acquire sneering rights. I don't need that fluff on my coffee. Looks like shaving cream. One swallow and you're foaming at the mouth.
Chicken pot pies were the specialty once, but they're long gone. There are hamburgers, but Myra says to avoid them. She says they use pre-frozen patties made of meat dust. Meat dust, she says, is what is scraped up off the floor after they've cut up frozen cows with an electric saw. She reads a lot of magazines, at the hairdresser's.
The cemetery has a wrought-iron gate, with an intricate scrollwork archway over it, and an inscription: Though I Walk Through the Valley of the Shadow of Death I Will Fear No Evil, For Thou Art With Me. Yes, it does feel deceptively safer with two; but Thou is a slippery character. Every Thou I've known has had a way of going missing. They skip town, or turn perfidious, or else they drop like flies, and then where are you?
Right about here.
The Chase family monument is hard to miss: it's taller than everything else. There are two angels, white marble, Victorian, sentimental but quite well done as such things go, on a large stone cube with scrolled corners. The first angel is standing, her head bowed to the side in an attitude of mourning, one hand placed tenderly on the shoulder of the second one. The second kneels, leaning against the other's thigh, gazing straight ahead, cradling a sheaf of lilies. Their bodies are decorous, the contours shrouded in folds of softly draped, impenetrable mineral, but you can tell they're female. Acid rain is taking its toll of them: their once-keen eyes are blurred now, softened and porous, as if they have cataracts. But perhaps that's my own vision going.
Laura and I used to visit here. We were brought by Reenie, who thought the visiting of family graves was somehow good for children, and later we came by ourselves: it was a pious and therefore acceptable excuse for escape. When she was little, Laura used to say the angels were meant to be us, the two of us. I told her this couldn't be true, because the angels were put there by our grandmother before we were born. But Laura never paid much attention to that kind of reasoning. She was more interested in forms - in what things were in themselves, not what they weren't. She wanted essences.
Over the years I've made a practice of coming here at least twice a year, to tidy up, if for no other reason. Once I drove, but no longer: my eyes are too bad for that. I bent over painfully and gathered up the withered flowers that had accumulated there, left by Laura's anonymous admirers, and stuffed them into my plastic shopping bag. There are fewer of these tributes than there used to be, though still more than enough. Today some were quite fresh. Once in a while I've
found sticks of incense, and candles too, as if Laura were being invoked.
After I'd dealt with the bouquets I walked around the monument, reading through the roll call of defunct Chases engraved on the sides of the cube. Benjamin Chase and his Beloved Wife Adelia; Norval Chase and his Beloved Wife Liliana. Edgar and Percival, They Shall Not Grow Old As We Who Are Left Grow Old.
And Laura, as much as she is anywhere. Her essence.
Meat dust.
There was a picture of her in the local paper last week, along with a write-up about the prize - the standard picture, the one from the book jacket, the only one that ever got printed because it's the only one I gave them. It's a studio portrait, the upper body turned away from the photographer, then the head turned back to give a graceful curve to the neck. A little more, now look up, towards me, that's my girl, now let's see that smile. Her long hair is blonde, as mine was then - pale, white almost, as if the red undertones had been washed away - the iron, the copper, all the hard metals. A straight nose; a heart-shaped face; large, luminous, guileless eyes; the eyebrows arched, with a perplexed upwards turning at the inner edges. A tinge of stubbornness in the jaw, but you wouldn't see it unless you knew. No makeup to speak of, which gives the face an oddly naked appearance: when you look at the mouth, you're aware you're looking at flesh.
Pretty; beautiful even; touchingly untouched. An advertisement for soap, all natural ingredients. The face looks deaf: it has that vacant, posed imperviousness of all well-brought-up girls of the time. A tabula rasa, not waiting to write, but to be written on.
It's only the book that makes her memorable now.
Laura came back in a small silver-coloured box, like a cigarette box. I knew what the town had to say about that, as much as if I'd been eavesdropping. Course it's not really her, just the ashes. You wouldn't have thought the Chases would be cremators, they never were before, they wouldn't have stooped to it in their heyday, but it sounds like they might as well just have gone ahead and finished the job off, seeing as she was more or less burnt up already. Still, I guess they felt she should be with family. They'd want her at that big monument thing of theirs with the two angels. Nobody else has two, but that was when the money was burning a hole in their pockets. They liked to show off back then, make a splash; take the lead, you could say. Play the big cheese. They sure did spread it around here once.
I always hear such things in Reenie's voice. She was our town interpreter, mine and Laura's. Who else did we have to fall back on?
Around behind the monument there's some empty space. I think of it as a reserved seat - permanently reserved, as Richard used to arrange at the Royal Alexandra Theatre. That's my spot; that's where I'll go to earth.
Poor Aimee is in Toronto, in the Mount Pleasant Cemetery, alongside the Griffens - with Richard and Winifred and their gaudy polished-granite megalith. Winifred saw to that - she staked her claim to Richard and Aimee by barging in right away and ordering their coffins. She who pays the undertaker calls the tune. She'd have barred me from their funerals if she could.
But Laura was the first of them, so Winifred hadn't got her body-snatching routine perfected yet. I said, "She's going home," and that was that. I scattered the ashes over the ground, but kept the silver box. Lucky I didn't bury it: some fan would have pinched it by now. They'll nick anything, those people. A year ago I caught one of them with a jam jar and a trowel, scraping up dirt from the grave.
I wonder about Sabrina - where she'll end up. She's the last of us. I assume she's still on this earth: I haven't heard anything different. It remains to be seen which side of the family she'll choose to be buried with, or whether she'll put herself off in a corner, away from the lot of us. I wouldn't blame her.
The first time she ran away, when she was thirteen,Winifred phoned in a cold rage, accusing me of aiding and abetting, although she didn't go so far as to say kidnapping. She demanded to know if Sabrina had come to me.
"I don't believe I'm obliged to tell you," I said, to torment her. Fair is fair: most of the chances for tormenting had so far been hers. She used to send my cards and letters and birthday presents for Sabrina back to me, Return to Sender printed on them in her chunky tyrant's handwriting. "Anyway I'm her grandmother. She can always come to me when she wants to. She's always welcome."
"I need hardly remind you that I am her legal guardian."
"If you need hardly remind me, then why are you reminding me?"
Sabrina didn't come to me, though. She never did. It's not hard to guess why. God knows what she'd been told about me. Nothing good.
The Button Factory
The summer heat has come in earnest, settling down over the town like cream soup. Malarial weather, it would have been once; cholera weather. The trees I walk beneath are wilting umbrellas, the paper is damp under my fingers, the words I write feather at the edges like lipstick on an aging mouth. Just climbing the stairs I sprout a thin moustache of sweat.
I shouldn't walk in such heat, it makes my heart beat harder. I notice this with malice. I shouldn't put my heart to such tests, now that I've been informed of its imperfections; yet I take a perverse delight in doing this, as if I am a bully and it is a small whining child whose weaknesses I despise.
In the evenings there's been thunder, a distant bumping and stumbling, like God on a sullen binge. I get up to pee, go back to bed, lie twisting in the damp sheets, listening to the monotonous whirring of the fan. Myra says I should get air conditioning, but I don't want it. Also I can't afford it. "Who would pay for such a thing?" I say to her. She must believe I have a diamond hidden in my forehead, like the toads in fairy tales.
The goal for my walk today was The Button Factory, where I intended to have morning coffee. The doctor has warned me about coffee, but he's only fifty - he goes jogging in shorts, making a spectacle of his hairy legs. He doesn't know everything, though that would be news to him. If coffee doesn't kill me, something else will.
Erie Street was languid with tourists, middle-aged for the most part, poking their noses into the souvenir shops, finicking around in the bookstore, at loose ends before driving off after lunch to the nearby summer theatre festival for a few relaxing hours of treachery, sadism, adultery and murder. Some of them were heading in the same direction I was - to The Button Factory, to see what chintzy curios they might acquire in commemoration of their overnight vacation from the twentieth century. Dust-catchers, Reenie would have called such items. She would have applied the same term to the tourists themselves.
I walked along in their pastel company, to where Erie Street turns into Mill Street and runs along the Louveteau River. Port Ticonderoga has two rivers, the Jogues and the Louveteau - the names being relics of the French trading post situated once at their juncture, not that we go in for French around these parts: it's the Jogs and the Lovetow for us. The Louveteau with its swift current was the attraction for the first mills, and then for the electricity plants. The Jogues on the other hand is deep and slow, navigable for thirty miles above Lake Erie. Down it they shipped the limestone that was the town's first industry, thanks to the huge deposits of it left by the retreating inland seas. (Of the Permian, the Jurassic? I used to know.) Most of the houses in town are made from this limestone, mine included.
The abandoned quarries are still there on the outskirts, deep squares and oblongs cut down into the rock as if whole buildings had been lifted out of them, leaving the empty shapes of themselves behind. I sometimes picture the entire town rising out of the shallow prehistoric ocean, unfolding like a sea anemone or the fingers of a rubber glove when you blow into it - sprouting jerkily like those brown, grainy films of flowers opening up that used to be shown in movie theatres - when was that? - before the features. Fossil-hunters poke around out there, looking for extinct fish, ancient fronds, scrolls of coral; and if the teenage kids want to carouse, that's where they do it. They make bonfires, and drink too much and smoke dope, and grope around in one another's clothing as if they've just invented it, and smash
their parents' cars up on the way back to town.
My own back garden adjoins the Louveteau Gorge, where the river narrows and takes a plunge. The drop is steep enough to cause a mist, and a little awe. On summer weekends the tourists stroll along the cliffside path or stand on the very edge, taking pictures; I can see their innocuous, annoying white canvas hats going by. The cliff is crumbling and dangerous, but the town won't spend the money for a fence, it being the opinion here, still, that if you do a damn fool thing you deserve whatever consequences. Cardboard cups from the doughnut shop collect in the eddies below, and once in a while there's a corpse, whether fallen or pushed or jumped is hard to tell, unless of course there's a note.
The Button Factory is on the east bank of the Louveteau, a quarter of a mile upriver from the Gorge. For several decades it stood derelict, its windows broken, its roof leaking, an abode of rats and drunks; then it was rescued from demolition by an energetic citizens' committee, and converted to boutiques. The flower beds have been reconstituted, the exterior sandblasted, the ravages of time and vandalism repaired, though dark wings of soot are still visible around the lower windows, from the fire over sixty years ago.
The building is brownish-red brick, with the large many-paned windows they once used in factories in order to save on lighting. It's quite graceful, as factories go: swag decorations, each with a stone rose in the centre, gabled windows, a mansard roof of green-and-purple slate. Beside it is a tidy parking lot. Welcome Button Factory Visitors, says the sign, in old-style circus type; and, in smaller lettering: Overnight Parking Prohibited. And under that, in scrawled, enraged black marker: You are not Fucking God and the Earth is not Your Fucking Driveway. The authentic local touch.
The front entrance has been widened, a wheelchair ramp installed, the original heavy doors replaced by plate-glass ones: In and Out, Push and Pull, the twentieth century's bossy quadruplets. Inside there's music playing, rural-route fiddles, the one-two-three of some sprightly, heartbroken waltz. There's a skylight, over a central space floored in ersatz cobblestones, with freshly painted green park benches and planters containing a few disgruntled shrubs. The various boutiques are arranged around it: a mall effect.