At breakfast the next day, Victoria assured him that he was eating bread he had helped to bake himself.
The boy’s life was not at all dark; he was not clever at school, but he attracted Miss McGladdery’s attention by the seriousness with which he applied himself in the weekly half-hour that was given to Art. Miss McGladdery taught Art, as she taught everything, and she instructed all three classes at once in the mysteries of drawing a pyramid and shading one side of it so that it appeared to have a third dimension—or as she put it the shaded side “went back” and the unshaded part “stuck out”. A pyramid and a circle which shading made into a ball, and, as the culmination of Art, an apple. Shading was done by scuffling down one side of the object with the flat of the pencil’s point. But Frank did not think that good enough; he had learned a craft at home in which shading was done with tiny parallel lines, achieved with great patience, and even by cross-hatching.
“If you take the time to do all that tick-tack-toe on your apple you won’t be finished by four, and you’ll have to stay in till it’s done,” said Miss McGladdery. So he did “stay in” with half a dozen other culprits who had work to finish before they were released for the weekend, and when he showed Miss McGladdery his apple at half past four she admitted reluctantly that it was “all right”, for she did not want to encourage the boy to be “fancy” and try to go beyond what the class demanded and what she herself knew. Frank could draw, which was something not required in Art, and Miss McGladdery had come upon a caricature of herself done in the back of his arithmetic workbook. Miss McGladdery, who was a fair-minded woman, except about religion and politics, and had no vanity, admitted to herself that it was good, so she said nothing about it. Frank was an oddity, and, like a true Scot, Miss McGladdery had a place in her approval for “a chiel o’pairts”, so long as he did not go too far.
Almost every Saturday Frank could escape into a world of imagination by going to the matinee at the McRory Opera House, where movies were shown. He got in for nothing, because the girl at the ticket office recognized him, and as he pushed his ten-cent piece across the little counter she winked and quietly pushed it back again.
Then inside, and into his favourite seat, which was on the aisle at the back; he did not crowd into the front rows, as did the other children. Riches unfolded. An episode—locally pronounced “esipode”—of a serial, in which, every week, a noble cowboy was brought to the point of a horrible death by remorseless villains who sought to rob him of the equally noble girl he loved. Of course, it all came out right at the end of Esipode Twelve, and then another great adventure was announced for the weeks to follow. After the serial, a hilarious comedy, sometimes about the Keystone Komedy Kops, who were as incapable of dealing with disaster as the girl in the serial. Occasionally Charlie Chaplin appeared, but Francis did not like him. He was a loser, and Francis knew too much about being a loser to make a pet of one. Then the feature, in several reels; the ones Francis most enjoyed were not usually those that appealed to the other children. Lorna Doone, which came from England, was certain proof that the nasty mystery about what animals did and really good people surely didn’t was a lie; the image of the beautiful Lorna, who looked exactly like the Holy Mother, but was attainable by a truly good man, who might then kiss her chastely and adore her forever, did more to shape his ideas about womanhood than Aunt’s pious confidences. Certainly Lorna was a girl who would never venture within miles of the Limit, whatever the Limit might be. A companion picture in this special group was The Passing of the Third Floor Back, in which the great English tragedian Forbes-Robertson (much was made of his eminence in the advertisements and prices were slightly raised) played the role of a man who showed a group of shabby people that they didn’t have to be shabby, and who looked so noble, so distinguished, so totally incapable of laughter or any other lively emotion, that he was plainly intended to be A Certain Person, but wearing a fine cloak and a broad-brimmed hat, instead of those sappy robes in which A Certain Person usually appeared. Frank had not yet been taken to Mass, and he had forgotten St. Alban’s, but at the movies he fed upon these things in his heart, and was thankful.
Francis had an eye for the movies that took in more than the action; he saw backgrounds, landscapes (many of them painted, if you looked carefully), and angles; he even saw light. It was to his grandfather, the Senator, that he owed this extension of his understanding, for the Senator was an amateur photographer. His techniques were not sophisticated in terms of the Great War period when Francis was so often his companion; he worked with a large box-camera and a tripod. With this load he trudged happily around Blairlogie, taking pictures of the town, and such of its more picturesque citizens as he could persuade to stand or sit still for the necessary number of seconds, and he drove out to the lumber camps from which his growing fortune flowed, and took pictures of the men at work, or standing by giant trees lying on their sides. He took pictures in his mills. He took pictures of young Blairlogie men who were going off to war, with their rifles and kit, and gave copies to their families. The Senator never thought of himself as an artist, but he had an eye for a picture and he was an enthusiastic pursuer of all the many sorts of light the Canadian seasons afford. He talked to Francis about it as if the boy were of his own age. His senatorial and grandpaternal aloofness quite disappeared on these expeditions in search of what he called “sun-pictures”.
“It’s all a question of the light, Frank,” he said repeatedly; “the light does it all.” And he explained that all that painstaking shading in Art was related to light—something which certainly had never occurred to Miss McGladdery.
His detestation was pictures that had been taken by artificial light, and he particularly liked to take portraits in a shelter he caused to be made in the garden, to which furniture and draperies and other decorations could be laboriously lugged, and in which—apparently indoors but in fact in some version of the sun’s light—he took countless pictures of Madame Thibodeau, of Marie-Louise, of the children of his second daughter, Mary-Teresa, and of his son-in-law, Gerald Vincent O’Gorman, the rising man in the McRory industrial empire. Aunt resolutely refused to be photographed. “Oh, Hamish, I’d break the camera,” she laughed. But at her insistence he photographed Father Devlin and Father Beaudry, each leaning over a table in scholarly abstraction, apparently reading a leather-bound book, one forefinger supporting a brow plainly crammed with edifying knowledge. He even persuaded Dr. Jerome to pose for him, his hand resting on a skull which was a prized possession.
Taking pictures was great fun, but it was not so entrancing as what followed, when Francis and Grand-père were locked in a bathroom with no light save that from a dim red lamp, swishing and sloshing the film in smelly liquids in the wash-basin and the bathtub, watching for each sun-picture to declare itself, with just the right quality to satisfy the Senator’s careful eye. And then—
What followed was best of all, for then Grand-père set to work with an exquisitely pointed pencil to improve on his work by retouching the negative, emphasizing shadows, or giving richness to special aspects of the picture with an intricate shading done sometimes in tiny dots, sometimes in little spiral squiggles, sometimes in cross-hatching, so that the appearance of the sitter was enhanced in a flattering way.
Or, it might be, in a way that was not wholly flattering. Gerald Vincent O’Gorman had a dark beard, and when the Senator was finished with him, his close-shaven jaw had a faintly criminal shadow on it. And Father Beaudry’s fleshy wen—not large but emphatic—on the left side of his nose was given a prominence which startled the priest when he received the print that was to be sent to his mother in Trois Rivières. Not even the dignity of soutane and biretta could diminish the prominence of that wen. But Mary-Teresa, who already had a perceptible double chin, lost it in the retouching process. The Senator never commented on these alterations to Francis, but he could be seen to smile as he brought them into being with his delicate pencil, and Francis learned, without knowing that he was learning,
that a portrait is, among other things, a statement of opinion by the artist, as well as a “likeness”, which was what everybody wanted it to be.
Francis was allowed to do some retouching himself, and he longed to transform the sitters with squints and lumps and deforming wrinkles. This was not permitted, but when Grandfather was momentarily absent he did, on one occasion, manage to sharpen one of Father Devlin’s front teeth in a way that seemed to him more expressive of Father Devlin’s personality than the unaided truth. Whether Grandfather saw what had been done was never known to Francis. But Grandfather did indeed notice, and a spirit of mischief to which he could not often give rein, and a pride in the psychological perception shown by his grandson, made him hold his peace, and he printed the improved portrait. Father Devlin never understood it, and although repeated examination in the mirror, and exploratory licking, told him that his dog-tooth was not really that of a vampire, he was of that simple group of mankind that believes the camera cannot lie, and besides, he did not like to criticize the Senator.
So, in one way and another, Francis managed to get some joy in life despite the shadow of school and the harassment of virtually all other children. Without being aware of it, he took into his mind and spirit forever a world that was passing away, a world of isolated communities like Blairlogie, which knew little of the world outside that they did not learn from The Clarion or, in one or two hundred uncharacteristic households, from the Ottawa papers. There was no entertainment from outside save the films and occasional road-shows at the McRory Opera House; entertainment was provided by church groups, by fraternal orders, by innumerable card parties, and of course by gossip, often cruel and bizarre in its nature.
At the top of the class structure were a few families who kept “maids”, an order of being who paradoxically conferred distinction, but were themselves held in disdain as underlings. When a maid bought a coat at Thomson and Howat, for instance, Archie Thomson always telephoned her employer (there were about two hundred telephones in the town) to ask if the girl was “good” for it, and to find out if he could what she was paid monthly. If a maid was so audacious as to attract a suitor, her mistress never failed to pop into the kitchen suddenly, to find out if they were up to anything. To employ a maid was splendid: to be a maid was to be sneered at, especially by those ladies who did not have a servant themselves. Protestant ministers were insistent that employers should release their maids on Sunday evenings, so that they could attend late services, but they gave the maids warmed-over sermons.
It was a world in which the horse played a crucial part. Few of these horses were of the noble breed with arching neck and flashing eye; most were miserable screws, rackers, the broken-winded, the spavined, often far gone with the botts, or with nostrils dribbling from the glanders. Even the splendid Percherons that drew the Senator’s great sleighs laden with tree-trunks were not objects of pride to their drivers, for they were seldom washed or combed, and the accusation that somebody smelled like a horse had a pungency now forgotten. But all of these creatures were hearty producers of manure, and in spring, when the unploughed roads gradually lost their layers of snow, the droppings of November perfumed the air of April, appearing with the lost overshoes and the copious spittings of the tobacco-chewers that had accumulated during the long months of frost.
Where there are horses there must be smiths. Francis spent many a happy hour, of which Aunt would have disapproved, hanging around Donoghue’s, where the big horses that pulled the lumber-sleighs were shod with pointed shoes that would strike into the icy roads. There, warmed by the horses and the fire of the forge, he learned rich blasphemy and objurgation from Vincent Donoghue, learned the stench that rises when the hot shoe is placed on the horse’s hoof, and the sharper stench when a spark landed on the blacksmith’s apron. But he learned no obscenity. Donoghue was puritanical and his horse-vocabulary was for talking to horses as he understood them; he would permit no smutty stories in his forge.
The taxicab was yet to come, and people who needed a carriage for a funeral, or a visit to the hospital, rode in lurching vehicles like droshkys; for winter their wheels were removed and they were mounted on runners; inside they stank of old leather, and of the mangy buffalo-robes that were drawn over the knees of the passengers; the drivers sat on a box in front, wrapped in fur coats of incalculable age.
There were a few horses of the better, proud sort, and of these the Senator’s were the best: a team of good bays, and a dancing pony or two to pull the governess-cart in which Marie-Louise and frequently Madame Thibodeau went shopping. Undertakers also had good horses, for that was part of the panoply of death, and of these Devinney’s black team were the most admired.
Good horses need good keeping, and when Old Billy finally drank himself into the grave, the Senator made one of the loose arrangements that were common in Blairlogie to have Devinney’s driver and groom take care of his horses as well, and it was not long before this man, whose name was Zadok Hoyle, spent more time at St. Kilda than he did at Devinney’s Furniture and Undertaking Parlours.
Zadok Hoyle presented a fine figure on the box of carriage or hearse, for he was a large, muscular man of upright bearing, black-haired and dark-skinned, possessed of a moustache that swept from under his nose in two fine ebony curls. On closer inspection it could be seen that he was cock-eyed, that his nose was of a rich red, and that his snowy collar and stock were washed less often than they were touched up with chalk. The seams of the frock coat he wore when driving the hearse would have been white if he had not painted them with ink. His top hat was glossy, but its nap was kept smooth with vaseline. His voice was deep and caressing. The story was that he was an old soldier, a veteran of the Boer War, and that he had learned about horses in the army.
He became Francis’s hero, second only to Grandfather. Zadok Hoyle was a Cornishman by birth, and had never lost his Cornish turn of speech; he usually called Francis “me little dear”, which did not sound odd from him, and sometimes he called him “poor worm”, which was meant in an affectionate and not a derogatory way. He spoke to the horses in the same terms, and they loved him, in so far as a horse can love anybody. Best of all, he had lived near to Chegwidden Hall in Cornwall when he was a boy, and did not have to be told how to pronounce the name in the proper style. When Francis confided to him the shame of being called Chicken, Zadok said: “Pity their ignorance, me liddle dear; pity their ignorance and despise ’em.”
ON NOVEMBER 11, not long after Francis’s ninth birthday, the First World War, which for so long was called the Great War, ended, but that did not mean that Major Cornish and Mary-Jacobine returned to Blairlogie. Everyone understands that when a war is over, the cleaning-up and the arranging, and the vengeance toward the vanquished, take just as much time and clashing of brains as the conflict itself. The Major had a very good war; he remained a major, because it gave him a certain protective colouring. There were plenty of majors, and the fact that this one was apparently an unusually clever major, attached to the Canadian forces but a familiar figure in the War Office in London, was better concealed from curious people. “High up in Intelligence” was the phrase people used about him, and that was much better than being a lieutenant-colonel, for instance. Such a man could not be spared when there was so much to do, and he and his wife, that popular beauty, had to go to London almost at once, and for an indefinite time.
The fighting had finished, but disease was busily at work. Spreading, unquestionably, from the putrefying dead lying on the battlefields—Blairlogie, knew this to be a fact—the Influenza walked the earth, and killed an additional twenty millions before it subsided. But in Blairlogie, as well as the influenza there was whooping-cough, and that had hardly subsided before there was a rush of what was then called infantile paralysis, the terrible inflammation of the spinal marrow that left so many children on crutches with legs cased in cruel cages, or confined to wheelchairs, if it did not kill them. But Francis, who was not an unusually robust or sickly child, somehow manage
d to avoid all of these epidemics. Indeed, his first encounter with a severe illness was with whooping cough four years later. At thirteen this encounter left him whooping, as Dr. J.A. put it, like an Indian on the warpath.
“No school for this young man at least until after Christmas, Mary-Ben,” he said to Aunt, who was of course the family nurse. “Perhaps not then. We’ll see. He’s badly run down and he’ll be marked for we-both-know-what if he goes among other children too soon. Keep him in bed as much as you can, and load him up with egg-nogs. Doesn’t matter if they come up when he whoops; quite a bit of it will stay.”
So Francis settled to a long, reflective holiday, as soon as Miss McGladdery had been convinced that there was no point in sending him sheets of arithmetic problems to be solved; she was determined that the sick body should not beget the idle mind, and arithmetic was just the thing for a boy who was too weak to sit up in bed. Francis was very ill, and the injections Dr. J.A. gave him every three days, just above the kidneys, did nothing to make him placid. Indeed, on one very bad day, Aunt got into a panic and sent for Father Devlin, who murmured and sprinkled some drops of water on him. Francis was in delirium, and did not understand what had happened, but Aunt was greatly comforted. When at last he seemed a little better, the Doctor said that he was greatly “run down”, and gentle steps must be taken to “build him up.”