"Mother, this is George," said Prue, on the dock where they were all sitting in their ancestral deck-chairs, the daughters in bathing suits with shirts over them, the mother in striped pastels. "It's not his real name, but it's easier to pronounce. He's come up here to see wild animals."
George leaned over to kiss the mother's sun-freckled hand, and his dark glasses fell off into the lake. The mother made cooing sounds of distress, Prue laughed at him, Roland ignored him, Pamela turned away in irritation. But Portia - lovely, small-boned Portia, with her velvet eyes - took off her shirt without a word and dove into the lake. She retrieved his dark glasses for him, smiling diffidently, handing them up to him out of the water, her wet hair dripping down over her small breasts like a water nymph's on an Art Nouveau fountain, and he knew then that she was the one he would marry. A woman of courtesy and tact and few words, who would be kind to him, who would cover up for him; who would pick up the things he had dropped.
In the afternoon, Prue took him for a paddle in one of the leaking canvas-covered canoes from the boathouse. He sat in the front, jabbing ineptly at the water with his paddle, thinking about how he would get Portia to marry him. Prue landed them on a rocky point, led him up among the trees. She wanted him to make his usual rakish, violent, outlandish brand of love to her on the reindeer moss and pine needles; she wanted to break some family taboo. Sacrilege was what she had in mind: that was as clear to him as if he'd read it. But George already had his plan of attack worked out, so he put her off. He didn't want to desecrate Wacousta Lodge: he wanted to marry it.
That evening at dinner he neglected all three of the daughters in favour of the mother: the mother was the guardian; the mother was the key. Despite his limping vocabulary he could be devastatingly charming, as Prue had announced to everyone while they ate their chicken-noodle soup.
"Wacousta Lodge," he said to the mother, bending his scar and his glinting marauder's eyes toward her in the light from the kerosene lamp. "That is so romantic. It is the name of an Indian tribe?"
Prue laughed. "It's named after some stupid book," she said. "Great-grandfather liked it because it was written by a general."
"A major," said Pamela severely. "In the nineteenth century. Major Richardson."
"Ah?" said George, adding this item to his already growing cache of local traditions. So there were books here, and houses named after them! Most people were touchy on the subject of their books; it would be as well to show some interest. Anyway, he was interested. But when he asked about the subject of this book it turned out that none of the women had read it.
"I've read it," said Roland, unexpectedly.
"Ah?" said George.
"It's about war."
"It's on the bookshelf in the living room," the mother said indifferently. "After dinner you can have a look, if you're all that fascinated."
It was the mother (Prue explained) who had been guilty of the daughters' alliterative names. She was a whimsical woman, though not sadistic; it was simply an age when parents did that - named their children to match, as if they'd come out of an alphabet book. The bear, the bumblebee, the bunny. Mary and Marjorie Murchison. David and Darlene Daly. Nobody did that any more. Of course, the mother hadn't stopped at the names themselves but had converted them into nicknames: Pam, Prue, Porsh. Prue's is the only nickname that has stuck. Pamela is now too dignified for hers, and Portia says it's already bad enough, being confused with a car, and why can't she be just an initial?
Roland had been left out of the set, at the insistence of the father. It was Prue's opinion that he had always resented it. "How can you tell?" George asked her, running his tongue around her navel as she lay in her half-slip on the Chinese carpet in his office, smoking a cigarette and surrounded by sheets of paper that had been knocked off the desk during the initial skirmish. She'd made sure the door was unlocked: she liked to run the risk of intrusion, preferably by George's secretary, whom she suspected of being the competition. Which secretary, and when was that? The spilled papers were part of a take-over plan - the Adams group. This is how George keeps track of the various episodes with Prue: by remembering what other skulduggery he was up to at the time. He'd made his money quickly, and then he'd made more. It had been much easier than he'd thought; it had been like spearing fish by lamplight. These people were lax and trusting, and easily embarrassed by a hint of their own intolerance or lack of hospitality to strangers. They weren't ready for him. He'd been as happy as a missionary among the Hawaiians. A hint of opposition and he'd thicken his accent and refer darkly to Communist atrocities. Seize the moral high ground, then grab what you can get.
After that first dinner, they'd all gone into the living room, carrying their cups of coffee. There were kerosene lamps in there, too - old ones, with globe shades. Prue took George flagrantly by the hand and led him over to the bookcase, which was topped with a collection of clam shells and pieces of driftwood from the girls' childhoods. "Here it is," she said. "Read it and weep." She went to refill his coffee. George opened the book, an old edition that had, as he'd hoped, a frontispiece of an angry-looking warrior with tomahawk and paint. Then he scanned the shelves. From Sea to Sea. Wild Animals I Have Known. The Collected Poems of Robert Service. Our Empire Story. Wilderness Tips.
"Wilderness Tips" puzzled him. "Wilderness" he knew, but "tips"? He was not immediately sure whether this word was a verb or a noun. There were asparagus tips, as he knew from menus, and when he was getting into the canoe that afternoon in his slippery leather-soled city shoes Prue had said, "Be careful, it tips." Perhaps it was another sort of tip, as in the "Handy Tips for Happy Home-makers" columns in the women's magazines he had taken to reading in order to improve his English - the vocabularies were fairly simple and there were pictures, which was a big help.
When he opened the book he saw he'd guessed right. Wilderness Tips was dated 1905. There was a photo of the author in a plaid wool jacket and a felt hat, smoking a pipe and paddling a canoe, against a backdrop that was more or less what you could see out the window: water, islands, rocks, trees. The book itself told how to do useful things, like snaring small animals and eating them - something George himself had done, though not in forests - or lighting a fire in a rainstorm. These instructions were interspersed with lyrical passages about the joys of independence and the open air, and descriptions of fish-catching and sunsets. George took the book over to a chair near one of the globed lamps; he wanted to read about skinning knives, but Prue came back with his coffee, and Portia offered him a chocolate, and he did not want to run the risk of displeasing either of them, not at this early stage. That could come later.
Now George again walks into the living room, again carrying a cup of coffee. By this time he's read all of the books in the great-grandfather's collection. He's the only one who has.
Prue follows him in. The women take it in turns to clear and do the dishes, and it isn't her turn. Roland's job is the wood-splitting. There was an attempt once to press George into service with a tea towel, but he jovially broke three wineglasses, exclaiming over his own clumsiness, and since then he has been left in peace.
"You want more coffee?" Prue says. She stands close to him, proffering the open shirt, the two bandannas. George isn't sure he wants to start anything again, but he sets his coffee down on the top of the bookcase and puts his hand on her hip. He wants to check out his options, make sure he's still welcome. Prue sighs - a long sigh of desire or exasperation, or both.
"Oh, George," she says. "What should I do with you?"
"Whatever you like," says George, moving his mouth close to her ear. "I am merely a lump of clay in your hands." Her earlobe holds a tiny silver earring in the form of a shell. He represses an impulse to nibble.
"Curious George," she says, using one of her old nicknames for him. "You used to have the eyes of a young goat. Lecher eyes."
And now I'm an old goat, thinks George. He can't resist, he wants to be young again; he runs his hand up under her shirt.
&nb
sp; "Later," Prue says triumphantly. She steps back from him and aims her wavering smile, and George upsets his cup of coffee with his elbow.
"Fene egye meg," he says, and Prue laughs. She knows the meaning of these swear-words, and worse ones, too.
"Clumsy bugger," she says. "I'll get a sponge."
George lights a cigarette and awaits her return. But it is Pamela who appears, frowning, in the doorway, with a deteriorating scrub cloth and a metal bowl. Trust Prue to have found some other urgent thing to do. She is probably in the outhouse, leafing through a magazine and plotting, deciding when and where she will next entice him.
"So, George, you've made a mess," says Pamela, as if he were a puppy. If she had a rolled-up newspaper, thinks George, she'd give me a swat on the nose.
"It's true, I'm an oaf," says George amiably. "But you've always known that."
Pamela gets down on her knees and begins to wipe. "If the plural of 'loaf' is 'loaves,' what's the plural of 'oaf'?" she says. "Why isn't it 'oaves'?" George realizes that a good deal of what she says is directed not to him or to any other listener but simply to herself. Is that because she thinks no one can hear her? He finds the sight of her down on her knees suggestive - stirring, even. He catches a whiff of her: soap flakes, a tinge of something sweet. Hand lotion? She has a graceful neck and throat. He wonders if she's ever had a lover, and, if so, what he was like. An insensitive man, lacking in skill. An oaf.
"George, you smoke like a furnace," she says, without turning around. "You really should stop, or it'll kill you."
George considers the ambiguity of the phrase. "Smoking like a furnace." He sees himself as a dragon, fumes and red flames pouring out of his ravenous maw. Is this really her version of him? "That would make you happy," he says, deciding on impulse to try a frontal attack. "You'd love to see me six feet underground. You've never liked me."
Pamela stops wiping and looks at him over her shoulder. Then she stands up and wrings the dirty cloth out into the bowl. "That's juvenile," she says calmly, "and unworthy of you. You need more exercise. This afternoon I'll take you canoeing."
"You know I'm hopeless at that," says George truthfully. "I always crash into rocks. I never see them."
"Geology is destiny," says Pamela, as if to herself. She scowls at the stuffed loon in its glass bell. She is thinking. "Yes," she says at last. "This lake is full of hidden rocks. It can be dangerous. But I'll take care of you."
Is she flirting with him? Can a crag flirt? George can hardly believe it, but he smiles at her, holding the cigarette in the centre of his mouth, showing his canines, and for the first time in their lives Pamela smiles back at him. Her mouth is quite different when the corners turn up; it's as if he were seeing her upside down. He's surprised by the loveliness of her smile. It's not a knowing smile, like Prue's, or saintly, like Portia's. It's the smile of an imp, of a mischievous child, mixed in with something he'd never expected to find in her. A generosity, a carelessness, a largesse. She has something she wishes to give him. What could it be?
After lunch and a pause for digestion, Roland goes back to his chopping, beside the woodshed out behind the kitchen. He's splitting birch - a dying tree he cut down a year ago. The beavers had made a start on it, but changed their minds. White birch don't live long anyway. He'd used the chain saw, slicing the trunk neatly into lengths, the blade going through the wood like a knife through butter, the noise blotting out all other noises - the wind and waves, the whining of the trucks from the highway across the lake. He dislikes machine noises, but they're easier to tolerate when you're making them yourself, when you can control them. Like gunshot.
Not that Roland shoots. He used to: he used to go out for a deer in season, but now it's unsafe, there are too many other men doing it - Italians and who knows what - who'll shoot at anything moving. In any case, he's lost the taste for the end result, the antlered carcasses strapped to the fronts of cars like grotesque hood ornaments, the splendid, murdered heads peering dull-eyed from the tops of mini-vans. He can see the point of venison, of killing to eat, but to have a cut-off head on your wall? What does it prove, except that a deer can't pull a trigger?
He never talks about these feelings. He knows they would be held against him at his place of work, which he hates. His job is managing money for other people. He knows he is not a success, not by his great-grandfather's standards. The old man sneers at him every morning from that rosewood frame in the washroom, while he is shaving. They both know the same thing: if Roland were a success he'd be out pillaging, not counting the beans. He'd have some grey, inoffensive, discontented man counting the beans for him. A regiment of them. A regiment of men like himself.
He lifts a chunk of birch, stands it on end on the chopping block, swings the axe. A clean split, but he's out of practice. Tomorrow he will have blisters. In a while he'll stop, stoop and pile, stoop and pile. There's already enough wood, but he likes doing this. It's one of the few things he does like. He feels alive only up here.
Yesterday, he drove up from the centre of the city, past the warehouses and factories and shining glass towers, which have gone up, it seems, overnight; past the subdivisions he could swear weren't there last year, last month. Acres of treelessness, of new townhouses with little pointed roofs - like tents, like an invasion. The tents of the Goths and the Vandals. The tents of the Huns and the Magyars. The tents of George.
Down comes his axe on the head of George, which splits in two. If Roland had known George would be here this weekend, he wouldn't have come. Damn Prue and her silly bandannas and her open shirt, her middle-aged breasts offered like hot, freckled muffins along with the sardines and cheese, George sliding his oily eyes all over her, with Portia pretending not to notice. Damn George and his shady deals and his pay-offs to town councillors; damn George and his millions, and his spurious, excessive charm. George should stay in the city where he belongs. He's hard to take even there, but at least Roland can keep out of his way. Here at Wacousta Lodge he's intolerable, strutting around as if he owned the place. Not yet. Probably he'll wait for them all to croak, and then turn it into a lucrative retirement home for the rich Japanese. He'll sell them Nature, at a huge margin. That's the kind of thing George would do.
Roland knew the man was a lizard the first time he saw him. Why did Portia marry him? She could have married somebody decent, leaving George to Prue, who'd dredged him up from God knows where and was flaunting him around like a prize fish. Prue deserved him; Portia didn't. But why did Prue give him up without a struggle? That wasn't like her. It's as if there had been some negotiation, some invisible deal between them. Portia got George, but what did she trade for him? What did she have to give up?
Portia has always been his favourite sister. She was the youngest, the baby. Prue, who was the next youngest, used to tease her savagely, though Portia was remarkably slow to cry. Instead, she would just look, as if she couldn't quite figure out what Prue was doing to her or why. Then she would go off by herself. Or else Roland would come to her defence and there would be a fight, and Roland would be accused of picking on his sister and be told he shouldn't behave that way because he was a boy. He doesn't remember what part Pamela used to take in all this. Pamela was older than the rest of them and had her own agenda, which did not appear to include anyone else at all. Pamela read at the dinner table and went off by herself in the canoe. Pamela was allowed.
In the city they were in different schools or different grades; the house was large and they had their own pathways through it, their own lairs. It was only here that the territories overlapped. Wacousta Lodge, which looks so peaceful, is for Roland the repository of the family wars.
How old had he been - nine? ten? - the time he almost killed Prue? It was the summer he wanted to be an Indian, because of Wilderness Tips. He used to sneak that book off the shelf and take it outside, behind the woodshed, and turn and re-turn the pages. Wilderness Tips told you how to survive by yourself in the woods - a thing he longed to do. How to build shelters, mak
e clothing from skins, find edible plants. There were diagrams too, and pen-and-ink drawings - of animal tracks, of leaves and seeds. Descriptions of different kinds of animal droppings. He remembers the first time he found some bear scat, fresh and reeking, and purple with blueberries. It scared the hell out of him.
There was a lot about the Indians, about how noble they were, how brave, faithful, clean, reverent, hospitable, and honourable. (Even these words sound outmoded now, archaic. When was the last time Roland heard anyone praised for being honourable?) They attacked only in self-defence, to keep their land from being stolen. They walked differently too. There was a diagram, on page 208, of footprints, an Indian's and a white man's: the white wore hobnailed boots, and his toes pointed outward; the Indian wore moccasins, and his feet went straight ahead. Roland has been conscious of his feet ever since. He still turns his toes in slightly, to counteract what he feels must be a genetically programmed waddle.
That summer he ran around with a tea towel tucked into the front of his bathing suit for a loincloth and decorated his face with charcoal from the fireplace, alternating with red paint swiped from Prue's paintbox. He lurked outside windows, listening in. Trying to make smoke signals, he set fire to a small patch of undergrowth down near the boathouse, but put it out before he was caught. He lashed an oblong stone to a stick handle with a leather lace borrowed from one of his father's boots; his father was alive then. He snuck up on Prue, who was reading comic books on the dock, dangling her legs in the water.
He had his stone axe. He could have brained her. She was not Prue, of course: she was Custer, she was treachery, she was the enemy. He went as far as raising the axe, watching the convincing silhouette his shadow made on the dock. The stone fell off, onto his bare foot. He shouted with pain. Prue turned around, saw him there, guessed in an instant what he was doing, and laughed herself silly. That was when he'd almost killed her. The other thing, the stone axe, had just been a game.