"Ed is cute as a button," Marylynn said. "In fact, he's just like a button: he's so bright and shiny. If he were mine, I'd get him bronzed and keep him on the mantelpiece."
Marylynn is even better than Sally at concocting formulations for Ed's particular brand of stupidity, which can irritate Sally: coming from herself, this sort of comment appears to her indulgent and loving, but from Marylynn it borders on the patronizing. So then she sticks up for Ed, who is by no means stupid about everything. When you narrow it down, there's only one area of life he's hopeless about. The rest of the time he's intelligent enough, some even say brilliant: otherwise, how could he be so successful?
Ed is a heart man, one of the best, and the irony of this is not lost on Sally: who could possibly know less about the workings of hearts, real hearts, the kind symbolized by red satin surrounded by lace and topped by pink bows, than Ed? Hearts with arrows in them. At the same time, the fact that he's a heart man is a large part of his allure. Women corner him on sofas, trap him in bay-windows at cocktail parties, mutter to him in confidential voices at dinner parties. They behave this way right in front of Sally, under her very nose, as if she's invisible, and Ed lets them do it. This would never happen if he were in banking or construction.
As it is, everywhere he goes he is beset by sirens. They want him to fix their hearts. Each of them seems to have a little something wrong - a murmur, a whisper. Or they faint a lot and want him to tell them why. This is always what the conversations are about, according to Ed, and Sally believes it. Once she'd wanted it herself, that mirage. What had she invented for him, in the beginning? A heavy heart, that beat too hard after meals. And he'd been so sweet, looking at her with those stunned brown eyes of his, as if her heart were the genuine topic, listening to her gravely as if he'd never heard any of this twaddle before, advising her to drink less coffee. And she'd felt such triumph, to have carried off her imposture, pried out of him that minuscule token of concern.
Thinking back on this incident makes her uneasy, now that she's seen her own performance repeated so many times, including the hand placed lightly on the heart, to call attention of course to the breasts. Some of these women have been within inches of getting Ed to put his head down on their chests, right there in Sally's living room. Watching all this out of the corners of her eyes while serving the liqueurs, Sally feels the Aztec rise within her. Trouble with your heart? Get it removed, she thinks. Then you'll have no more problems.
Sometimes Sally worries that she's a nothing, the way Marylynn was before she got a divorce and a job. But Sally isn't a nothing; therefore, she doesn't need a divorce to stop being one. And she's always had a job of some sort; in fact she has one now. Luckily Ed has no objection; he doesn't have much of an objection to anything she does.
Her job is supposed to be full-time, but in effect it's part-time, because Sally can take a lot of the work away and do it at home, and, as she says, with one arm tied behind her back. When Sally is being ornery, when she's playing the dull wife of a fascinating heart man - she does this with people she can't be bothered with - she says she works in a bank, nothing important. Then she watches their eyes dismiss her. When, on the other hand, she's trying to impress, she says she's in P.R. In reality she runs the in-house organ for a trust company, a medium-sized one. This is a thin magazine, nicely printed, which is supposed to make the employees feel that some of the boys are doing worthwhile things out there and are human beings as well. It's still the boys, though the few women in anything resembling key positions are wheeled out regularly, bloused and suited and smiling brightly, with what they hope will come across as confidence rather than aggression.
This is the latest in a string of such jobs Sally has held over the years: comfortable enough jobs that engage only half of her cogs and wheels, and that end up leading nowhere. Technically she's second-in-command: over her is a man who wasn't working out in management, but who couldn't be fired because his wife was related to the chairman of the board. He goes out for long alcoholic lunches and plays a lot of golf, and Sally runs the show. This man gets the official credit for everything Sally does right, but the senior executives in the company take Sally aside when no one is looking and tell her what a great gal she is and what a whiz she is at holding up her end.
The real pay-off for Sally, though, is that her boss provides her with an endless supply of anecdotes. She dines out on stories about his dim-wittedness and pomposity, his lobotomized suggestions about what the two of them should cook up for the magazine; the organ, as she says he always calls it. "He says we need some fresh blood to perk up the organ," Sally says, and the heart men grin at her. "He actually said that?" Talking like this about her boss would be reckless - you never know what might get back to him, with the world as small as it is - if Sally were afraid of losing her job, but she isn't. There's an unspoken agreement between her and this man: they both know that if she goes, he goes, because who else would put up with him? Sally might angle for his job, if she were stupid enough to disregard his family connections, if she coveted the trappings of power. But she's just fine where she is. Jokingly, she says she's reached her level of incompetence. She says she suffers from fear of success.
Her boss is white-haired, slender, and tanned, and looks like an English gin ad. Despite his vapidity he's outwardly distinguished, she allows him that. In truth she pampers him outrageously, indulges him, covers up for him at every turn, though she stops short of behaving like a secretary: she doesn't bring him coffee. They both have a secretary who does that anyway. The one time he made a pass at her, when he came in from lunch visibly reeling, Sally was kind about it.
Occasionally, though not often, Sally has to travel in connection with her job. She's sent off to places like Edmonton, where they have a branch. She interviews the boys at the middle and senior levels; they have lunch, and the boys talk about ups and downs in oil or the slump in the real-estate market. Then she gets taken on tours of shopping plazas under construction. It's always windy, and grit blows into her face. She comes back to home base and writes a piece on the youthfulness and vitality of the West.
She teases Ed, while she packs, saying she's going off for a rendezvous with a dashing financier or two. Ed isn't threatened; he tells her to enjoy herself, and she hugs him and tells him how much she will miss him. He's so dumb it doesn't occur to him she might not be joking. In point of fact, it would have been quite possible for Sally to have had an affair, or at least a one-or two-night stand, on several of these occasions: she knows when those chalk lines are being drawn, when she's being dared to step over them. But she isn't interested in having an affair with anyone but Ed.
She doesn't eat much on the planes; she doesn't like the food. But on the return trip, she invariably saves the pre-packaged parts of the meal, the cheese in its plastic wrap, the miniature chocolate bar, the bag of pretzels. She ferrets them away in her purse. She thinks of them as supplies, that she may need if she gets stuck in a strange airport, if they have to change course because of snow or fog, for instance. All kinds of things could happen, although they never have. When she gets home she takes the things from her purse and throws them out.
Outside the window Ed straightens up and wipes his earth-smeared hands down the sides of his pants. He begins to turn, and Sally moves back from the window so he won't see that she's watching. She doesn't like it to be too obvious. She shifts her attention to the sauce: it's in the second stage of a sauce supreme, which will make all the difference to the chicken. When Sally was learning this sauce, her cooking instructor quoted one of the great chefs, to the effect that the chicken was merely a canvas. He meant as in painting, but Sally, in an undertone to the woman next to her, turned it around. "Mine's canvas anyway, sauce or no sauce," or words to that effect.
Gourmet cooking was the third night course Sally has taken. At the moment she's on her fifth, which is called Forms of Narrative Fiction. It's half reading and half writing assignments - the instructor doesn't believe you can unders
tand an art form without at least trying it yourself - and Sally purports to be enjoying it. She tells her friends she takes night courses to keep her brain from atrophying, and her friends find this amusing: whatever else may become of Sally's brain, they say, they don't see atrophying as an option. Sally knows better, but in any case there's always room for improvement. She may have begun taking the courses in the belief that this would make her more interesting to Ed, but she soon gave up on that idea: she appears to be neither more nor less interesting to Ed now than she was before.
Most of the food for tonight is already made. Sally tries to be well organized: the overflowing Jacuzzi was an aberration. The cold watercress soup with walnuts is chilling in the refrigerator, the chocolate mousse ditto. Ed, being Ed, prefers meatloaf to sweetbreads with pine nuts, butterscotch pudding made from a package to chestnut puree topped with whipped cream. (Sally burnt her fingers peeling the chestnuts. She couldn't do it the easy way and buy it tinned.) Sally says Ed's preference for this type of food comes from being pre-programmed by hospital cafeterias when he was younger: show him a burned sausage and a scoop of instant mashed potatoes and he salivates. So it's only for company that she can unfurl her boeuf en daube and her salmon en papillote, spread them forth to be savoured and praised.
What she likes best about these dinners though is setting the table, deciding who will sit where and, when she's feeling mischievous, even what they are likely to say. Then she can sit and listen to them say it. Occasionally she prompts a little.
Tonight will not be very challenging, since it's only the heart men and their wives, and Marylynn, whom Sally hopes will dilute them. The heart men are forbidden to talk shop at Sally's dinner table, but they do it anyway. "Not what you really want to listen to while you're eating," says Sally. "All those tubes and valves." Privately she thinks they're a conceited lot, all except Ed. She can't resist needling them from time to time.
"I mean," she said to one of the leading surgeons, "basically it's just an exalted form of dress-making, don't you think?"
"Come again?" said the surgeon, smiling. The heart men think Sally is one hell of a tease.
"It's really just cutting and sewing, isn't it?" Sally murmured. The surgeon laughed.
"There's more to it than that," Ed said, unexpectedly, solemnly.
"What more, Ed?" said the surgeon. "You could say there's a lot of embroidery, but that's in the billing." He chuckled at himself.
Sally held her breath. She could hear Ed's verbal thought processes lurching into gear. He was delectable.
"Good judgement," Ed said. His earnestness hit the table like a wet fish. The surgeon hastily downed his wine.
Sally smiled. This was supposed to be a reprimand to her, she knew, for not taking things seriously enough. Oh, come on, Ed, she could say. But she knows also, most of the time, when to keep her trap shut. She should have a light-up JOKE sign on her forehead, so Ed would be able to tell the difference.
The heart men do well. Most of them appear to be doing better than Ed, but that's only because they have, on the whole, more expensive tastes and fewer wives. Sally can calculate these things and she figures Ed is about par.
These days there's much talk about advanced technologies, which Sally tries to keep up on, since they interest Ed. A few years ago the heart men got themselves a new facility. Ed was so revved up that he told Sally about it, which was unusual for him. A week later Sally said she would drop by the hospital at the end of the day and pick Ed up and take him out for dinner; she didn't feel like cooking, she said. Really she wanted to check out the facility; she likes to check out anything that causes the line on Ed's excitement chart to move above level.
At first Ed said he was tired, that when the day came to an end he didn't want to prolong it. But Sally wheedled and was respectful, and finally Ed took her to see his new gizmo. It was in a cramped, darkened room with an examining table in it. The thing itself looked like a television screen hooked up to some complicated hardware. Ed said that they could wire a patient up and bounce sound waves off the heart and pick up the echoes, and they would get a picture on the screen, an actual picture, of the heart in motion. It was a thousand times better than an electrocardiogram, he said: they could see the faults, the thickenings and cloggings, much more clearly.
"Colour?" said Sally.
"Black and white," said Ed.
Then Sally was possessed by a desire to see her own heart, in motion, in black and white, on the screen. At the dentist's she always wants to see the X-rays of her teeth, too, solid and glittering in her cloudy head. "Do it," she said, "I want to see how it works," and though this was the kind of thing Ed would ordinarily evade or tell her she was being silly about, he didn't need much persuading. He was fascinated by the thing himself, and he wanted to show it off.
He checked to make sure there was nobody real booked for the room. Then he told Sally to slip out of her clothes, the top half, brassiere and all. He gave her a paper gown and turned his back modestly while she slipped it on, as if he didn't see her body every night of the week. He attached electrodes to her, the ankles and one wrist, and turned a switch and fiddled with the dials. Really a technician was supposed to do this, he told her, but he knew how to run the machine himself. He was good with small appliances.
Sally lay prone on the table, feeling strangely naked. "What do I do?" she said.
"Just lie there," said Ed. He came over to her and tore a hole in the paper gown, above her left breast. Then he started running a probe over her skin. It was wet and slippery and cold, and felt like the roller on a roll-on deodorant.
"There," he said, and Sally turned her head. On the screen was a large grey object, like a giant fig, paler in the middle, a dark line running down the centre. The sides moved in and out; two wings fluttered in it, like an uncertain moth's.
"That's it?" said Sally dubiously. Her heart looked so insubstantial, like a bag of gelatin, something that would melt, fade, disintegrate, if you squeezed it even a little.
Ed moved the probe, and they looked at the heart from the bottom, then the top. Then he stopped the frame, then changed it from a positive to a negative image. Sally began to shiver.
"That's wonderful," she said. He seemed so distant, absorbed in his machine, taking the measure of her heart, which was beating over there all by itself, detached from her, exposed and under his control.
Ed unwired her and she put on her clothes again, neutrally, as if he were actually a doctor. Nevertheless this transaction, this whole room, was sexual in a way she didn't quite understand; it was clearly a dangerous place. It was like a massage parlour, only for women. Put a batch of women in there with Ed and they would never want to come out. They'd want to stay in there while he ran his probe over their wet skins and pointed out to them the defects of their beating hearts.
"Thank you," said Sally.
Sally hears the back door open and close. She feels Ed approaching, coming through the passages of the house towards her, like a small wind or a ball of static electricity. The hair stands up on her arms. Sometimes he makes her so happy she thinks she's about to burst; other times she thinks she's about to burst anyway.
He comes into the kitchen, and she pretends not to notice. He puts his arms around her from behind, kisses her on the neck. She leans back, pressing herself into him. What they should do now is go into the bedroom (or even the living room, even the den) and make love, but it wouldn't occur to Ed to make love in the middle of the day. Sally often comes across articles in magazines about how to improve your sex life, which leave her feeling disappointed, or reminiscent: Ed is not Sally's first and only man. But she knows she shouldn't expect too much of Ed. If Ed were more experimental, more interested in variety, he would be a different kind of man altogether: slyer, more devious, more observant, harder to deal with.
As it is, Ed makes love in the same way, time after time, each movement following the others in an exact order. But it seems to satisfy him. Of course it satisfies him: y
ou can always tell when men are satisfied. It's Sally who lies awake, afterwards, watching the pictures unroll across her closed eyes.
Sally steps away from Ed, smiles at him. "How did you make out with the women today?" she says.
"What women?" says Ed absently, going towards the sink. He knows what women.
"The ones out there, hiding in the forsythia," says Sally. "I counted at least ten. They were just waiting for a chance."
She teases him frequently about these troops of women, which follow him around everywhere, which are invisible to Ed but which she can see as plain as day.
"I bet they hang around outside the front door of the hospital," she will say, "just waiting till you come out. I bet they hide in the linen closets and jump out at you from behind, and then pretend to be lost so you'll take them by the short cut. It's the white coat that does it. None of those women can resist the white coats. They've been conditioned by Young Doctor Kildare."
"Don't be silly," says Ed today, with equanimity. Is he blushing, is he embarrassed? Sally examines his face closely, like a geologist with an aerial photograph, looking for telltale signs of mineral treasure: markings, bumps, hollows. Everything about Ed means something, though it's difficult at times to say what.
Now he's washing his hands at the sink, to get the earth off. In a minute he'll wipe them on the dish towel instead of using the hand towel the way he's supposed to. Is that complacency, in the back turned to her? Maybe there really are these hordes of women, even though she's made them up. Maybe they really do behave that way. His shoulders are slightly drawn up: is he shutting her out?
"I know what they want," she goes on. "They want to get into that little dark room of yours and climb up onto your table. They think you're delicious. They'll gobble you up. They'll chew you into tiny pieces. There won't be anything left of you at all, only a stethoscope and a couple of shoelaces."