6
This Henry Emery Person, our Person's father, might be described as a well-meaning, earnest, dear little man, or as a wretched fraud, depending on the angle of light and the position of the observer. A lot of handwringing goes about in the dark of remorse, in the dungeon of the irreparable. A schoolboy, be he as strong as the Boston strangler – show your hands, Hugh – cannot cope with all his fellows when all keep making cruel remarks about his father. After two or three clumsy fights with the most detestable among them, he had adopted a smarter and meaner attitude of taciturn semiacquiescence which horrified him when he remembered those times; but by a curious twist of conscience the awareness of his own horror comforted him as proving he was not altogether a monster. He now had to do something about a number of recollected unkindnesses of which he had been guilty up to that very day; they were to be as painfully disposed of as had been the dentures and glasses which the authorities left with him in a paper bag. The only kinsman he could turn up, an uncle in Scranton, advised him over the ocean to have the body cremated abroad rather than shipped home; actually, the less recommended course proved to be the easier one in many respects, and mainly because it allowed Hugh to get rid of the dreadful object practically at once.
Everybody was very helpful. One would like in particular to express one's gratitude to Harold Hall, the American consul in Switzerland, who was instrumental in extending all possible assistance to our poor friend.
Of the two thrills young Hugh experienced, one was general, the other specific. The general sense of liberation came first, as a great breeze, ecstatic and clean, blowing away a lot of life's rot. Specifically, he was delighted to discover three thousand dollars in his father's battered, but plump, wallet. Like many a young man of dark genius who feels in a wad of bills all the tangible thickness of immediate delights, he had no practical sense, no ambition to make more money, and no qualms about his future means of subsistence (these proved negligible when it transpired that the cash had been more than a tenth of the actual inheritance). That same day he moved to much finer lodgings in Geneva, had homard А l'amЙricaine for dinner, and went to find his first whore in a lane right behind his hotel.
For optical and animal reasons sexual love is less transparent than many other much more complicated things. One knows, however, that in his home town Hugh had courted a thirty-eight-year-old mother and her sixteen-year-old daughter but had been impotent with the first and not audacious enough with the second. We have here a banal case of protracted erotic itch, of lone practice for its habitual satisfaction, and of memorable dreams. The girl he accosted was stumpy but had a lovely, pale, vulgar face with Italian eyes. She took him to one of the better beds in a hideous old roominghouse – to the precise "number," in fact, where ninety-one, ninety-two, nearly ninety-three years ago a Russian novelist had sojourned on his way to Italy. The bed – a different one, with brass knobs – was made, unmade, covered with a frock coat, made again; upon it stood a half-open green-checkered grip, and the frock coat was thrown over the shoulders of the night-shirted, bare-necked, dark-tousled traveler whom we catch in the act of deciding what to take out of the valise (which he will send by mail coach ahead) and transfer to the knapsack (which he will carry himself across the mountains to the Italian frontier). He expects his friend Kandidatov, the painter, to join him here any moment for the outing, one of those lighthearted hikes that romantics would undertake even during a drizzly spell in August; it rained even more in those uncomfortable times; his boots are still wet from a ten-mile ramble to the nearest casino. They stand outside the door in the attitude of expulsion, and he has wrapped his feet in several layers of German-language newspaper, a language which incidentally he finds easier to read than French. The main problem now is whether to confide to his knapsack or mail in his grip his manuscripts: rough drafts of letters, an unfinished short story in a Russian copybook bound in black cloth, parts of a philosophical essay in a blue cahier acquired in Geneva, and the loose sheets of a rudimentary novel under the provisional title of Faust in Moscow. As he sits at that deal table, the very same upon which our Person's whore has plunked her voluminous handbag, there shows through that bag, as it were, the first page of the Faust affair with energetic erasures and untidy insertions in purple, black, reptile-green ink. The sight of his handwriting fascinates him; the chaos on the page is to him order, the blots are pictures, the marginal jottings are wings. Instead of sorting his papers, he uncorks his portable ink and moves nearer to the table, pen in hand. But at that minute there comes a joyful banging on the door. The door flies open and closes again.
Hugh Person followed his chance girl down the long steep stairs, and to her favorite street corner where they parted for many years. He had hoped that the girl would keep him till morn – and thus spare him a night at the hotel, with his dead father present in every dark corner of solitude; but when she saw him inclined to stay she misconstrued his plans, brutally said it would take much too long to get such a poor performer back into shape, and ushered him out. It was not a ghost, however, that prevented him from falling asleep, but the stuffiness. He opened wide both casements; they gave on a parking place four floors below; the thin meniscus overhead was too wan to illumine the roofs of the houses descending toward the invisible lake; the light of a garage picked out the steps of desolate stairs leading into a chaos of shadows; it was all very dismal and very distant, and our acrophobic Person felt the pull of gravity inviting him to join the night and his father. He had walked in his sleep many times as a naked boy but familiar surroundings had guarded him, till finally the strange disease had abated. Tonight, on the highest floor of a strange hotel, he lacked all protection. He closed the windows and sat in an armchair till dawn.
7
In the nights of his youth when Hugh had suffered attacks of somnambulism, he would walk out of his room hugging a pillow, and wander downstairs. He remembered awakening in odd spots, on the steps leading to the cellar or in a hall closet among galoshes and storm coats, and while not overly frightened by those barefoot trips, the boy did not care "to behave like a ghost" and begged to be locked up in his bedroom. This did not work either, as he would scramble out of the window onto the sloping roof of a gallery leading to the schoolhouse dormitories. The first time he did it the chill of the slates against his soles roused him, and he traveled back to his dark nest avoiding chairs and things rather by ear than otherwise. An old and silly doctor advised his parents to cover the floor near his bed with wet towels and place basins with water at strategic points, and the only result was that having circumvented all obstacles in his magic sleep, he found himself shivering at the foot of a chimney with the school cat for companion. Soon after that sally the spectral fits became rarer; they practically stopped in his late adolescence. As a penultimate echo came the strange case of the struggle with a bedside table. This was when Hugh attended college and lodged with a fellow student. Jack Moore (no relation), in two rooms of the newly built Snyder Hall. Jack was awakened in the middle of the night, after a weary day of cramming, by a burst of crashing sounds coming from the bed-sitting room. He went to investigate. Hugh, in his sleep, had imagined that his bedside table, a little three-legged affair (borrowed from under the hallway telephone), was executing a furious war dance all by itself, as he had seen a similar article do at a seance when asked if the visiting spirit (Napoleon) missed the springtime sunsets of St. Helena. Jack Moore found Hugh energetically leaning from his couch and with both arms embracing and crushing the inoffensive object, in a ludicrous effort to stop its inexistent motion. Books, an ashtray, an alarm clock, a box of cough drops, had all been shaken off, and the tormented wood was emitting snaps and crackles in the idiot's grasp. Jack Moore pried the two apart. Hugh silently turned over and went to sleep.
8
During the ten years that were to elapse between Hugh Person's first and second visits to Switzerland he earned his living in the various dull ways that fall to the lot of brilliant young people who lack an
y special gift or ambition and get accustomed to applying only a small part of their wits to humdrum or charlatan tasks. What they do with the other, much greater, portion, how and where their real fancies and feelings are housed, is not exactly a mystery – there are no mysteries now – but would entail explications and revelations too sad, too frightful, to face. Only experts, for experts, should probe a mind's misery.
He could multiply eight-digit numbers in his head, and lost that capacity in the course of a few gray diminishing nights during hospitalization with a virus infection at twenty-five. He had published a poem in a college magazine, a long rambling piece that began rather auspiciously:
Blest are suspension dots . . .
The sun was setting a heavenly example to the lake…Љ
He was the author of a letter to the London Times which was reproduced a few years later in the anthology To the Editor: Sir, and a passage of which read:
Anacreon died at eighty-five choked by "wine's skeleton" (as another Ionian put it), and a gypsy predicted to the chessplayer Alyokhin that he would be killed in Spain by a dead bull.
For seven years after graduating from the university he had been the secretary and anonymous associate of a notorious fraud, the late symbolist Atman, and was wholly responsible for such footnotes as:
The cromlech (associated with mieko, milch, milk) is obviously a symbol of the Great Mother, just as the menhir ("mein Herr") is as obviously masculine.
He had been in the stationery business for another spell and a fountain pen he had promoted bore his name: The Person Pen. But that remained his greatest achievement.
As a sulky person of twenty-nine he joined a great publishing firm, where he worked in various capacities – research assistant, scout, associate editor, copy editor, proofreader, flatterer of our authors. A sullen slave, he was placed at the disposal of Mrs. Flankard, an exuberant and pretentious lady with a florid face and octopus eyes whose enormous romance The Stag had been accepted for publication on condition that it be drastically revised, ruthlessly cut, and partly rewritten. The rewritten bits, consisting of a few pages here and there, were supposed to bridge the black bleeding gaps of generously deleted matter between the retained chapters. That job had been performed by one of Hugh's colleagues, a pretty ponytail who had since left the firm. As a novelist she possessed even less talent than Mrs. Flankard, and Hugh was now cursed with the task of healing not only the wounds she had inflicted but the warts she had left intact. He had tea several times with Mrs. Flankard in her charming suburban house decorated almost exclusively with her late husband's oils, early spring in the parlor, surnmertime in the dining room, all the glory of New England in the library, and winter in the bedchamber. Hugh did not linger in that particular room, for he had the uncanny feeling that Mrs. Flankard was planning to be raped beneath Mr. Flankard's mauve snowflakes. Like many overripe and still handsome lady artists, she seemed to be quite unaware that a big bust, a wrinkled neck, and the smell of stale femininity on an eau de Cologne base might repel a nervous male. He uttered a grunt of relief when "our" book finally got published.
On the strength of The Stag's commercial success he found himself assigned a more glamorous task. "Mister R.", as he was called in the office (he had a long German name, in two installments, with a nobiliary particle between castle and crag), wrote English considerably better than he spoke it. On contact with paper it acquired a shapeliness, a richness, an ostensible dash, that caused some of the less demanding reviewers in his adopted country to call him a master stylist.
Mr. R. was a touchy, unpleasant, and rude correspondent. Hugh's dealings with him across the ocean – Mr. R. lived mostly in Switzerland or France – lacked the hearty glow of the Flankard ordeal; but Mr. R., though perhaps not a master of the very first rank, was at least a true artist who fought on his own ground with his own weapons for the right to use an unorthodox punctuation corresponding to singular thought. A paperback edition of one of his earlier works was painlessly steered into production by our accommodating Person; but then began a long wait for the new novel which R. had promised to deliver before the end of that spring. Spring passed without any result – and Hugh flew over to Switzerland for a personal interview with the sluggish author. This was the second of his four European trips.
9
He made Armande's acquaintance in a Swiss railway carriage one dazzling afternoon between Thur and Versex on the eve of his meeting with Mr. R. He had boarded a slow train by mistake; she had chosen one that would stop at the small station from which a bus line went up to Witt, where her mother owned a chalet. Armande and Hugh had simultaneously settled in two window seats facing each other on the lake side of the coach. An American family occupied the corresponding four-seat side across the aisle. Hugh unfolded the Journal de GenИve.
Oh, she was pretty and would have been exquisitely so had her lips been fuller. She had dark eyes, fair hair, a honey-hued skin. Twin dimples of the crescentic type came down her tanned cheeks on the sides of her mournful mouth. She wore a black suit over a frilly blouse. A book lay in her lap under her black-gloved hands. He thought, he recognized that flame-and-soot paperback. The mechanism of their first acquaintance was ideally banal.
They exchanged a glance of urbane disapproval as the three American kids began pulling sweaters and pants out of a suitЗase in savage search for something stupidly left behind (a heap of comics – by now taken care of, with the used towels, by a brisk hotel maid). One of the two adults, catching Armande's cold eye, responded with a look of good-natured helplessness. The conductor came for the tickets.
Hugh, tilting his head slightly, satisfied himself that he had been right: it was indeed the paperback edition of Figures in a Golden Window.
"One of ours," said Hugh with an indicative nod.
She considered the book in her lap as if seeking in it some explanation of his remark. Her skirt was very short.
"I mean," he said, "I work for that particular publisher. For the American publisher of the hard-cover edition. Do you like it?"
She answered in fluent but artificial English that she detested surrealistic novels of the poetic sort. She demanded hard realistic stuff reflecting our age. She liked books about Violence and Oriental Wisdom. Did it get better farther on?
"Well, there's a rather dramatic scene in a Riviera villa, when the little girl, the narrator's daughter – "
"June."
"Yes. June sets her new dollhouse on fire and the whole villa burns down; but there's not much violence, I'm afraid; it is all rather symbolic, in the grand manner, and, well, curiously tender at the same time, as the blurb says, or at least said, in our first edition. That cover is by the famous Paul Plam."
She would finish it, of course, no matter how boring, because every task in life should be brought to an end like completing that road above Witt, where they had a house, a chalet de luxe, but had to trudge up to the Drakonita cableway until that new road had been finished. The Burning Window or whatever it was called had been given her only the day before, on her twenty-third birthday, by the author's stepdaughter whom he probably -
"Julia."
Yes. Julia and she had both taught in the winter at a school for foreign young ladies in the Tessin. Julia's stepfather had just divorced her mother whom he had treated in an abominable fashion. What had they taught? Oh, posture, rhythmics – things like that.
Hugh and the new, irresistible person had by now switched to French, which he spoke at least as well as she did English. Asked to guess her nationality he suggested Danish or Dutch. No, her father's family came from Belgium, he was an architect who got killed last summer while supervising the demolition of a famous hotel in a defunct spa; and her mother was born in Russia, in a very noble milieu, but of course completely ruined by the revolution. Did he like his job? Would he mind pulling that dark blind down a little? The low sun's funeral. Was that a proverb, she queried? No, he had just made it up.
In a diary he kept in fits and starts Hugh wro
te that night in Versex:
"Spoke to a girl on the train. Adorable brown naked legs and golden sandals. A schoolboy's insane desire and a romantic tumult never felt previously. Armande Chamar. La particule aurait jurЙ avec la derniИre syllabe de mon prЙnom. I believe Byron uses 'chamar,' meaning 'peacock fan,' in a very noble Oriental milieu. Charmingly sophisticated, yet marvelously naive. Chalet above Witt built by father. If you find yourself in those parages. Wished to know if I liked my job. My job! I replied; "Ask me what I can do, not what I do, lovely girl, lovely wake of the sun through semitransparent black fabric. I can commit to memory a whole page of the directory in three minutes flat but am incapable of remembering my own telephone number. I can compose patches of poetry as strange and new as you are, or as anything a person may write three hundred years hence, but I have never published one scrap of verse except some juvenile nonsense at college. I have evolved on the playing courts of my father's school a devastating return of service – a cut clinging drive – but am out of breath after one game. Using ink and aquarelle I can paint a lakescape of unsurpassed translucence with all the mountains of paradise reflected therein, but am unable to draw a boat or a bridge or the silhouette of human panic in the blazing windows of a villa by Plam. I have taught French in American schools but have never been able to get rid of my mother's Canadian accent, though I hear it clearly when I whisper French words. Ouvre ta robe, DЙjanire that I may mount sur mon bЫcher. I can levitate one inch high and keep it up for ten seconds, but cannot climb an apple tree. I possess a doctor's degree in philosophy, but have no German. I have fallen in love with you but shall do nothing about it. In short I am an all-round genius.' By a coincidence worthy of that other genius, his stepdaughter had given her the book she was reading. Julia Moore has no doubt forgotten that I possessed her a couple of years ago. Both mother and daughter are intense travelers. They have visited Cuba and China, and such-like dreary, primitive spots, and speak with fond criticism of the many charming and odd people they made friends with there. Parlez-moi de son stepfather. Is he trИs fasciste? Could not understand why I called Mrs. R.'s left-wingism a commonplace bourgeois vogue. Mais au contraire, she and her daughter adore radicals! Well, I said, Mr. R., lui, is immune to politics. My darling thought that was the trouble with him. Toffee-cream neck with a tiny gold cross and a grain de beautЙ. Slender, athletic, lethal!"