Текст книги "Alice Munro's Best"

Автор книги: Alice Munro

I had lost interest in Flora by then. I was always thinking of stories, and by this time I probably had a new one on my mind.

But I have thought of her since. I have wondered what kind of a store. A hardware store or a five-and-ten, where she has to wear a cover all, or a drugstore, where she is uniformed like a nurse, or a Ladies’ Wear, where she is expected to be genteelly fashionable? She might have had to learn about food blenders or chain saws, negligees, cosmetics, even condoms. She would have to work all day under electric lights, and operate a cash register. Would she get a permanent, paint her nails, put on lipstick? She must have found a place to live – a little apartment with a kitchenette, overlooking the main street, or a room in a boardinghouse. How could she go on being a Cameronian? How could she get to that out-of-the-way church unless she managed to buy a car and learned to drive it? And if she did that she might drive not only to church but to other places. She might go on holidays. She might rent a cottage on a lake for a week, learn to swim, visit a city. She might eat meals in a restaurant, possibly in a restaurant where drinks were served. She might make friends with women who were divorced.

She might meet a man. A friend’s widowed brother, perhaps. A man who did not know that she was a Cameronian or what Cameronians were. Who knew nothing of her story. A man who had never heard about the partial painting of the house or the two betrayals, or that it took all her dignity and innocence to keep her from being a joke. He might want to take her dancing, and she would have to explain that she could not go. He would be surprised but not put off – all that Cameronian business might seem quaint to him, almost charming. So it would to everybody. She was brought up in some weird religion, people would say. She lived a long time out on some godforsaken farm. She is a little bit strange but really quite nice. Nice-looking too. Especially since she went and got her hair done.

I might go into a store and find her.

No, no. She would be dead a long time now.

But suppose I had gone into a store – perhaps a department store. I see a place with the brisk atmosphere, the straightforward displays, the old-fashioned modern look of the fifties. Suppose a tall, handsome woman, nicely turned out, had come to wait on me, and I had known, somehow, in spite of the sprayed and puffed hair and the pink or coral lips and fingernails – I had known that this was Flora. I would have wanted to tell her that I knew, I knew her story, though we had never met. I imagine myself trying to tell her. (This is a dream now, I understand it as a dream.) I imagine her listening, with a pleasant composure. But she shakes her head. She smiles at me, and in her smile there is a degree of mockery, a faint, self-assured malice. Weariness, as well. She is not surprised that I am telling her this, but she is weary of it, of me and my idea of her, my information, my notion that I can know anything about her.

Of course it’s my mother I’m thinking of, my mother as she was in those dreams, saying, It’s nothing, just this little tremor; saying with such astonishing lighthearted forgiveness, Oh, I knew you’d come someday. My mother surprising me, and doing it almost indifferently. Her mask, her fate, and most of her affliction taken away. How relieved I was, and happy. But I now recall that I was disconcerted as well. I would have to say that I felt slightly cheated. Yes. Offended, tricked, cheated, by this welcome turnaround, this reprieve. My mother moving rather carelessly out of her old prison, showing options and powers I never dreamed she had, changes more than her self. She changes the bitter lump of love I have carried all this time into a phantom – something useless and uncalled for, like a phantom pregnancy.

THE CAMERONIANS, I have discovered, are or were an uncompromising remnant of the Covenanters – those Scots who in the seventeenth century bound themselves, with God, to resist prayer books, bishops, any taint of popery or interference by the King. Their name comes from Richard Cameron, an outlawed, or “field,” preacher, soon cut down. The Cameronians – for a long time they have preferred to be called the Reformed Presbyterians – went into battle singing the seventy-fourth and the seventy-eighth Psalms. They hacked the haughty Bishop of St. Andrews to death on the highway and rode their horses over his body. One of their ministers, in a mood of firm rejoicing at his own hanging, excommunicated all the other preachers in the world.

MENESETEUNG

I

 
Columbine, bloodroot,
And wild bergamot,
Gathering armfuls,
Giddily we go.
 

OFFERINGS, the book is called. Gold lettering on a dull-blue cover. The author’s full name underneath: Almeda Joynt Roth. The local paper, the Vidette, referred to her as “our poetess.” There seems to be a mixture of respect and contempt, both for her calling and for her sex – or for their predictable conjuncture. In the front of the book is a photograph, with the photographer’s name in one corner, and the date: 1865. The book was published later, in 1873.

The poetess has a long face; a rather long nose; full, sombre dark eyes, which seem ready to roll down her cheeks like giant tears; a lot of dark hair gathered around her face in droopy rolls and curtains. A streak of gray hair plain to see, although she is, in this picture, only twenty-five. Not a pretty girl but the sort of woman who may age well, who probably won’t get fat. She wears a tucked and braid-trimmed dark dress or jacket, with a lacy, floppy arrangement of white material – frills or a bow – filling the deep V at the neck. She also wears a hat, which might be made of velvet, in a dark color to match the dress. It’s the untrimmed, shapeless hat, something like a soft beret, that makes me see artistic intentions, or at least a shy and stubborn eccentricity, in this young woman, whose long neck and forward-inclining head indicate as well that she is tall and slender and somewhat awkward. From the waist up, she looks like a young nobleman of another century. But perhaps it was the fashion.

“In 1854,” she writes in the preface to her book, “my father brought us – my mother, my sister Catherine, my brother William, and me – to the wilds of Canada West (as it then was). My father was a harness-maker by trade, but a cultivated man who could quote by heart from the Bible, Shakespeare, and the writings of Edmund Burke. He prospered in this newly opened land and was able to set up a harness and leather-goods store, and after a year to build the comfortable house in which I live (alone) today. I was fourteen years old, the eldest of the children, when we came into this country from Kingston, a town whose handsome streets I have not seen again but often remember. My sister was eleven and my brother nine. The third summer that we lived here, my brother and sister were taken ill of a prevalent fever and died within a few days of each other. My dear mother did not regain her spirits after this blow to our family. Her health declined, and after another three years she died. I then became housekeeper to my father and was happy to make his home for twelve years, until he died suddenly one morning at his shop.

“From my earliest years I have delighted in verse and I have occupied myself – and sometimes allayed my griefs, which have been no more, I know, than any sojourner on earth must encounter – with many floundering efforts at its composition. My fingers, indeed, were always too clumsy for crochet-work, and those dazzling productions of embroidery which one sees often today – the overflowing fruit and flower baskets, the little Dutch boys, the bonneted maidens with their watering cans – have likewise proved to be beyond my skill. So I offer instead, as the product of my leisure hours, these rude posies, these ballads, couplets, reflections.”

Titles of some of the poems: “Children at Their Games,” “The Gypsy Fair,” “A Visit to My Family,” “Angels in the Snow,” “Champlain at the Mouth of the Meneseteung,” “The Passing of the Old Forest,” and “A Garden Medley.” There are other, shorter poems, about birds and wildflowers and snowstorms. There is some comically intentioned doggerel about what people are thinking about as they listen to the sermon in church.

“Children at Their Games”: The writer, a child, is playing with her brother and sister – one of those games in which children on different sides try to entice and catch each other. She plays on in the deepening twilight, until she realizes that she is alone, and much older. Still she hears the (ghostly) voices of her brother and sister calling. Come over, come over, let Meda come over. (Perhaps Almeda was called Meda in the family, or perhaps she shortened her name to fit the poem.)

“The Gypsy Fair”: The Gypsies have an encampment near the town, a “fair,” where they sell cloth and trinkets, and the writer as a child is afraid that she may be stolen by them, taken away from her family. Instead, her family has been taken away from her, stolen by Gypsies she can’t locate or bargain with.

“A Visit to My Family”: A visit to the cemetery, a one-sided conversation.

“Angels in the Snow”: The writer once taught her brother and sister to make “angels” by lying down in the snow and moving their arms to create wing shapes. Her brother always jumped up carelessly, leaving an angel with a crippled wing. Will this be made perfect in Heaven, or will he be flying with his own makeshift, in circles?

“Champlain at the Mouth of the Meneseteung”: This poem celebrates the popular, untrue belief that the explorer sailed down the eastern shore of Lake Huron and landed at the mouth of the major river.

“The Passing of the Old Forest”: A list of all the trees – their names, appearance, and uses – that were cut down in the original forest, with a general description of the bears, wolves, eagles, deer, waterfowl.

“A Garden Medley”: Perhaps planned as a companion to the forest poem. Catalogue of plants brought from European countries, with bits of history and legend attached, and final Canadianness resulting from this mixture.

The poems are written in quatrains or couplets. There are a couple of attempts at sonnets, but mostly the rhyme scheme is simple – a b a b or a b c b. The rhyme used is what was once called “masculine” (“shore”/“before”), though once in a while it is “feminine” (“quiver” / “river”). Are those terms familiar anymore? No poem is unrhymed.

II

 
White roses cold as snow
Bloom where those “angels” lie.
Do they but rest below
Or, in God’s wonder, fly?
 

In 1879, Almeda Roth was still living in the house at the corner of Pearl and Dufferin streets, the house her father had built for his family. The house is there today; the manager of the liquor store lives in it. It’s covered with aluminum siding; a closed-in porch has replaced the veranda. The woodshed, the fence, the gates, the privy, the barn – all these are gone. A photograph taken in the 1880s shows them all in place. The house and fence look a little shabby, in need of paint, but perhaps that is just because of the bleached-out look of the brownish photograph. The lace-curtained windows look like white eyes. No big shade tree is in sight, and, in fact, the tall elms that overshadowed the town until the 1950s, as well as the maples that shade it now, are skinny young trees with rough fences around them to protect them from the cows. Without the shelter of those trees, there is a great exposure – back yards, clotheslines, woodpiles, patchy sheds and barns and privies – all bare, exposed, provisional-looking. Few houses would have anything like a lawn, just a patch of plantains and anthills and raked dirt. Perhaps petunias growing on top of a stump, in a round box. Only the main street is gravelled; the other streets are dirt roads, muddy or dusty according to season. Yards must be fenced to keep animals out. Cows are tethered in vacant lots or pastured in back yards, but sometimes they get loose. Pigs get loose too; and dogs roam free or nap in a lordly way on the boardwalks. The town has taken root, it’s not going to vanish, yet it still has some of the look of an encampment. And, like an encampment, it’s busy all the time – full of people, who, within the town, usually walk wherever they’re going; full of animals, which leave horse buns, cow pats, dog turds that ladies have to hitch up their skirts for; full of the noise of building and of drivers shouting at their horses and of the trains that come in several times a day.

I read about that life in the Vidette.

The population is younger than it is now, than it will ever be again. People past fifty usually don’t come to a raw, new place. There are quite a few people in the cemetery already, but most of them died young, in accidents or childbirth or epidemics. It’s youth that’s in evidence in town. Children – boys – rove through the streets in gangs. School is compulsory for only four months a year, and there are lots of occasional jobs that even a child of eight or nine can do – pulling flax, holding horses, delivering groceries, sweeping the boardwalk in front of stores. A good deal of time they spend looking for adventures. One day they follow an old woman, a drunk nicknamed Queen Aggie. They get her into a wheelbarrow and trundle her all over town, then dump her into a ditch to sober her up. They also spend a lot of time around the railway station. They jump on shunting cars and dart between them and dare each other to take chances, which once in a while result in their getting maimed or killed. And they keep an eye out for any strangers coming into town. They follow them, offer to carry their bags, and direct them (for a five-cent piece) to a hotel. Strangers who don’t look so prosperous are taunted and tormented. Speculation surrounds all of them – it’s like a cloud of flies. Are they coming to town to start up a new business, to persuade people to invest in some scheme, to sell cures or gimmicks, to preach on the street corners? All these things are possible any day of the week. Be on your guard, the Vidette tells people. These are times of opportunity and danger. Tramps, confidence men, hucksters, shysters, plain thieves are travelling the roads, and particularly the railroads. Thefts are announced: money invested and never seen again, a pair of trousers taken from the clothesline, wood from the woodpile, eggs from the henhouse. Such incidents increase in the hot weather.

Hot weather brings accidents too. More horses run wild then, upsetting buggies. Hands caught in the wringer while doing the washing, a man lopped in two at the sawmill, a leaping boy killed in a fall of lumber at the lumberyard. Nobody sleeps well. Babies wither with summer complaint, and fat people can’t catch their breath. Bodies must be buried in a hurry. One day a man goes through the streets ringing a cowbell and calling, “Repent! Repent!” It’s not a stranger this time, it’s a young man who works at the butcher shop. Take him home, wrap him in cold wet cloths, give him some nerve medicine, keep him in bed, pray for his wits. If he doesn’t recover, he must go to the asylum.

Almeda Roth’s house faces on Dufferin Street, which is a street of considerable respectability. On this street, merchants, a mill owner, an operator of salt wells have their houses. But Pearl Street, which her back windows overlook and her back gate opens onto, is another story. Workmen’s houses are adjacent to hers. Small but decent row houses – that is all right. Things deteriorate toward the end of the block, and the next, last one becomes dismal. Nobody but the poorest people, the unrespectable and undeserving poor, would live there at the edge of a boghole (drained since then), called the Pearl Street Swamp. Bushy and luxuriant weeds grow there, makeshift shacks have been put up, there are piles of refuse and debris and crowds of runty children, slops are flung from doorways. The town tries to compel these people to build privies, but they would just as soon go in the bushes. If a gang of boys goes down there in search of adventure, it’s likely they’ll get more than they bargained for. It is said that even the town constable won’t go down Pearl Street on a Saturday night. Almeda Roth has never walked past the row housing. In one of those houses lives the young girl Annie, who helps her with her house-cleaning. That young girl herself, being a decent girl, has never walked down to the last block or the swamp. No decent woman ever would.

But that same swamp, lying to the east of Almeda Roth’s house, presents a fine sight at dawn. Almeda sleeps at the back of the house. She keeps to the same bedroom she once shared with her sister Catherine – she would not think of moving to the large front bedroom, where her mother used to lie in bed all day, and which was later the solitary domain of her father. From her window she can see the sun rising, the swamp mist filling with light, the bulky, nearest trees floating against that mist and the trees behind turning transparent. Swamp oaks, soft maples, tamarack, butternut.

III

 
Here where the river meets the
   inland sea,
Spreading her blue skirts from the
   solemn wood,
I think of birds and beasts and
   vanished men,
Whose pointed dwellings on these
   pale sands stood.
 

One of the strangers who arrived at the railway station a few years ago was Jarvis Poulter, who now occupies the next house to Almeda Roth’s – separated from hers by a vacant lot, which he has bought, on Dufferin Street. The house is plainer than the Roth house and has no fruit trees or flowers planted around it. It is understood that this is a natural result of Jarvis Poulter’s being a widower and living alone. A man may keep his house decent, but he will never – if he is a proper man – do much to decorate it. Marriage forces him to live with more ornament as well as sentiment, and it protects him, also, from the extremities of his own nature – from a frigid parsimony or a luxuriant sloth, from squalor, and from excessive sleeping or reading, drinking, smoking, or freethinking.

In the interests of economy, it is believed, a certain estimable gentleman of our town persists in fetching water from the public tap and supplementing his fuel supply by picking up the loose coal along the railway track. Does he think to repay the town or the railway company with a supply of free salt?

This is the Vidette, full of sly jokes, innuendo, plain accusation that no newspaper would get away with today. It’s Jarvis Poulter they’re talking about – though in other passages he is spoken of with great respect, as a civil magistrate, an employer, a churchman. He is close, that’s all. An eccentric, to a degree. All of which may be a result of his single condition, his widower’s life. Even carrying his water from the town tap and filling his coal pail along the railway track. This is a decent citizen, prosperous: a tall – slightly paunchy? – man in a dark suit with polished boots. A beard? Black hair streaked with gray. A severe and self-possessed air, and a large pale wart among the bushy hairs of one eyebrow? People talk about a young, pretty, beloved wife, dead in childbirth or some horrible accident, like a house fire or a railway disaster. There is no ground for this, but it adds interest. All he has told them is that his wife is dead.

He came to this part of the country looking for oil. The first oil well in the world was sunk in Lambton County, south of here, in the 1850s. Drilling for oil, Jarvis Poulter discovered salt. He set to work to make the most of that. When he walks home from church with Almeda Roth, he tells her about his salt wells. They are twelve hundred feet deep. Heated water is pumped down into them, and that dissolves the salt. Then the brine is pumped to the surface. It is poured into great evaporator pans over slow, steady fires, so that the water is steamed off and the pure, excellent salt remains. A commodity for which the demand will never fail.

“The salt of the earth,” Almeda says.

“Yes,” he says, frowning. He may think this disrespectful. She did not intend it so. He speaks of competitors in other towns who are following his lead and trying to hog the market. Fortunately, their wells are not drilled so deep, or their evaporating is not done so efficiently. There is salt everywhere under this land, but it is not so easy to come by as some people think.

Does this not mean, Almeda says, that there was once a great sea?

Very likely, Jarvis Poulter says. Very likely. He goes on to tell her about other enterprises of his – a brickyard, a lime-kiln. And he explains to her how this operates, and where the good clay is found. He also owns two farms, whose woodlots supply the fuel for his operations.

Among the couples strolling home from church on a recent, sunny Sabbath morning we noted a certain salty gentleman and literary lady, not perhaps in their first youth but by no means blighted by the frosts of age. May we surmise?

This kind of thing pops up in the Vidette all the time.

May they surmise, and is this courting? Almeda Roth has a bit of money, which her father left her, and she has her house. She is not too old to have a couple of children. She is a good enough housekeeper, with the tendency toward fancy iced cakes and decorated tarts that is seen fairly often in old maids. (Honorable mention at the Fall Fair.) There is nothing wrong with her looks, and naturally she is in better shape than most married women of her age, not having been loaded down with work and children. But why was she passed over in her earlier, more marriageable years, in a place that needs women to be partnered and fruitful? She was a rather gloomy girl – that may have been the trouble. The deaths of her brother and sister, and then of her mother, who lost her reason, in fact, a year before she died, and lay in her bed talking nonsense – those weighed on her, so she was not lively company. And all that reading and poetry – it seemed more of a drawback, a barrier, an obsession, in the young girl than in the middle-aged woman, who needed something, after all, to fill her time. Anyway, it’s five years since her book was published, so perhaps she has got over that. Perhaps it was the proud, bookish father encouraging her?

Everyone takes it for granted that Almeda Roth is thinking of Jarvis Poulter as a husband and would say yes if he asked her. And she is thinking of him. She doesn’t want to get her hopes up too much, she doesn’t want to make a fool of herself. She would like a signal. If he attended church on Sunday evenings, there would be a chance, during some months of the year, to walk home after dark. He would carry a lantern. (There is as yet no street lighting in town.) He would swing the lantern to light the way in front of the lady’s feet and observe their narrow and delicate shape. He might catch her arm as they step off the boardwalk. But he does not go to church at night.

Nor does he call for her, and walk with her to church on Sunday mornings. That would be a declaration. He walks her home, past his gate as far as hers; he lifts his hat then and leaves her. She does not invite him to come in – a woman living alone could never do such a thing. As soon as a man and woman of almost any age are alone together within four walls, it is assumed that anything may happen. Spontaneous combustion,instant fornication, an attack of passion. Brute instinct, triumph of the senses. What possibilities men and women must see in each other to infer such dangers. Or, believing in the dangers, how often they must think about the possibilities.

When they walk side by side, she can smell his shaving soap, the barber’s oil, his pipe tobacco, the wool and linen and leather smell of his manly clothes. The correct, orderly, heavy clothes are like those she used to brush and starch and iron for her father. She misses that job – her father’s appreciation, his dark, kind authority. Jarvis Poulter’s garments, his smell, his movements all cause the skin on the side of her body next to him to tingle hopefully, and a meek shiver raises the hairs on her arms. Is this to be taken as a sign of love? She thinks of him coming into her – their – bedroom in his long underwear and his hat. She knows this outfit is ridiculous, but in her mind he does not look so; he has the solemn effrontery of a figure in a dream. He comes into the room and lies down on the bed beside her, preparing to take her in his arms. Surely he removes his hat? She doesn’t know, for at this point a fit of welcome and submission overtakes her, a buried gasp. He would be her husband.

One thing she has noticed about married women, and that is how many of them have to go about creating their husbands. They have to start ascribing preferences, opinions, dictatorial ways. Oh, yes, they say, my husband is very particular. He won’t touch turnips. He won’t eat fried meat. (Or he will only eat fried meat.) He likes me to wear blue (brown) all the time. He can’t stand organ music. He hates to see a woman go out bareheaded. He would kill me if I took one puff of tobacco. This way, bewildered, sidelong-looking men are made over, made into husbands, heads of households. Almeda Roth cannot imagine herself doing that. She wants a man who doesn’t have to be made, who is firm already and determined and mysterious to her. She does not look for companionship. Men – except for her father – seem to her deprived in some way, incurious. No doubt that is necessary, so that they will do what they have to do. Would she herself, knowing that there was salt in the earth, discover how to get it out and sell it? Not likely. She would be thinking about the ancient sea. That kind of speculation is what Jarvis Poulter has, quite properly, no time for.

Instead of calling for her and walking her to church, Jarvis Poulter might make another, more venturesome declaration. He could hire a horse and take her for a drive out to the country. If he did this, she would be both glad and sorry. Glad to be beside him, driven by him, receiving this attention from him in front of the world. And sorry to have the countryside removed for her – filmed over, in a way, by his talk and preoccupations. The countryside that she has written about in her poems actually takes diligence and determination to see. Some things must be disregarded. Manure piles, of course, and boggy fields full of high, charred stumps, and great heaps of brush waiting for a good day for burning. The meandering creeks have been straightened, turned into ditches with high, muddy banks. Some of the crop fields and pasture fields are fenced with big, clumsy uprooted stumps; others are held in a crude stitchery of rail fences. The trees have all been cleared back to the woodlots. And the woodlots are all second growth. No trees along the roads or lanes or around the farmhouses, except a few that are newly planted, young and weedy-looking. Clusters of log barns – the grand barns that are to dominate the countryside for the next hundred years are just beginning to be built – and mean-looking log houses, and every four or five miles a ragged little settlement with a church and school and store and a blacksmith shop. A raw countryside just wrenched from the forest, but swarming with people. Every hundred acres is a farm, every farm has a family, most families have ten or twelve children. (This is the country that will send out wave after wave of settlers – it’s already starting to send them – to Northern Ontario and the West.) It’s true that you can gather wildflowers in spring in the woodlots, but you’d have to walk through herds of horned cows to get to them.