She doesn't tell Roz about the forged term paper or the thousand dollars. In any case they are not the story. The story is about West. Zenia is gone, with West's soul stuffed into her over-the-shoulder bag, and without it West will die. He will kill himself, and then what will Tony do? How will she live with herself?
This isn't how she puts it though. She outlines the bare facts, and facts they are. She isn't being melodramatic. Merely objective.
"Listen, sweetie," says Roz, when Tony stops talking. "I know you like him, I mean, he seems like a nice enough guy, but is he worth it?"
He is, says Tony. He is, he definitely is, but she is without hope. (He will dwindle and fade, as in ballads. He will pine and wane. Then he will blow off his head.)
"Sounds to me he's acting like a jerk! Zenia's a floozie, we all knew that. A couple of years ago she went through half the fraternities - more than half! You never heard that poem about her - 'Trouble with your penia? Try Zenia!' He should wake up, eh?" says Roz, who has yet to encounter love, having yet to encounter Mitch. She has however just encountered sex and thinks it's the new wonder drug, and she's always had trouble keeping secrets. She lowers her voice. "You should take him to bed," she says, nodding her head sagely. She's enjoying the role of wise woman, counsellor to the afflicted. It helps not to be afflicted yourself.
"Me?" says Tony. The girls in McClung Hall, although they talk endlessly about their boyfriends, are never very specific about what they actually do with them. If they go to bed with them they don't mention it. Zenia is the only person Tony's ever known who has been at all open about sex, until right now.
"So who else?" says Roz. "You need to make him feel wanted. Give him an interest in life."
"Oh, I don't think I could do that," says Tony. The thought of going to bed with anyone at all is terrifying. What if they rolled over on her by mistake, and she got squashed? Also the thought of giving another person that much power over her makes her flinch. Let alone her reluctance to be pawed and drooled on. Zenia was frank about sex, but she didn't make it sound all that attractive.
Still, thinking about it, Tony has to admit that if there's one person she might be able to tolerate, it would be West. Already she holds his hand, on their walks; it's nice. But the concrete details defeat her. How would she lure West into such a place as bed, and which bed? Not her own narrow bed in McClung Hall - that's out of the question, too many eyes are on her, you can't even eat cookies in your room without everyone finding out - and surely not the same bed he's been sleeping in with Zenia. It wouldn't be right! Also, she doesn't know how such things are done. In theory, yes, she knows what goes where, but in practice? One of the hurdles is conversational: what would she say? And even if she could successfully manoeuvre West into the physical location, what would happen then? She is too small, and West is too big. She would be shredded.
She loves West, though. That much is very clear to her. And isn't it a matter of saving his life? It is. So heroism and self-sacrifice are called for.
Tony grits her teeth and sets out to seduce West. She is every bit as inept at it as she has feared she'll be. She tries bringing some candles over to West's apartment and cooking a candlelight dinner, but her activity in the kitchen seems only to depress West further, because Zenia was such a marvellous and inventive cook; in addition to which Tony burns the tuna casserole. She takes him to movies, leading him to cheap and silly horror films that give her a chance to clutch his hand in the dark when the vampires bare their fangs and the rubber head rolls down the staircase. But whatever she does West chooses to regard as simply the ministrations of friendship. Or so it appears to Tony. To her despair, but also - partly - to her relief, he views her as a loyal sidekick, and that is that.
It's June, it's warm, the university term is over but Tony has signed up for a summer course, as usual, so she won't have to move out of her room at McClung Hall. One afternoon she goes over to West's place to do his accumulated mildewed dishes and to take him out for his walk, and finds him asleep on his bed. His eyelids are curved and pure, like those on carved tombstone saints; one arm is thrown up over his head. Breath goes into him, breath goes out: she is so grateful that he is still, as yet, alive. His hair - uncut for weeks - is ragged on his head. He looks so sad lying there, so deserted, so lacking in threat, that she sits carefully down beside him, bends gingerly over, and gives him a kiss on the forehead.
West doesn't open his eyes, but his arms come around her. "You're so warm," he murmurs into her hair. "You're so kind to me."
Nobody has ever called Tony warm and kind before. No man has ever put his arms around her. While she is still getting used to it, West begins to kiss her. He gives her small kisses, all over her face. His eyes are still closed. "Don't go away," he whispers. "Don't move."
Tony can't move anyway, because she is paralyzed with apprehension. She is dismayed by her own lack of bravery, and also by the sheer magnitude of West's body, now that she's so close to it. She can actually see the stubs of whiskers coming out of his chin! Usually they're too high up for that. It's like seeing the ants on a falling boulder, just before it crushes you. She feels acutely menaced.
But West is very gradual. He slides off her glasses; then he undoes one button at a time, fumbling as if his fingers are asleep, and pulls his raspy blanket over her, and smooths her as if she's a velvet cushion, and although it does indeed hurt, as the books have said, it's less like being torn apart by wild beasts than she'd supposed, given all that growling that used to go on with Zenia, and more like falling into a river, because West is what other people call him, a long drink of water, and Tony is so thirsty, she's parched, she's been wandering in the desert all of these years, and now at last somebody truly needs her for something, and in the end she discovers what she's always wanted to know: she is bigger inside than out.
In this way Tony, proud of herself and filled with the joy of giving, drags West from the field of defeat and carts him off behind the lines, and tends his wounds, and mends him. He has been broken, but he knits together after a time. Though not perfectly. Tony is conscious of the scar, which takes the form of a low-level anxiety: West is convinced he's failed Zenia. He thinks she's been tossed out into the back alley of the world, to fend (badly) for herself, because he wasn't capable enough or smart enough or simply enough for her. He thinks she needs his protection, but Tony must keep her sneers about this to herself. There is no rival like an absent one. Zenia is not there to defend herself, and for this reason Tony can't attack her. Chivalry as well as wisdom ties her hands.
West goes back to university in the fall and makes up the courses he's missed. Tony is now in graduate school. They rent a small apartment together and share tidy breakfasts and sweet, kindly nights, and Tony is happier than she's ever been.
Time passes and they both get their first postgraduate degrees, and both of them acquire teaching assistantships. After a while they get married, at City Hall; the party afterwards is small and intellectual in tone, although Roz is there, married herself already. Her husband Mitch can't come, she explains; he's away on a business trip. She gives Tony an enveloping hug and a silver telephone cover, and after she leaves (early), Tony's historical and West's musical colleagues ask with ironic eyebrows who on earth that was. Her presence however has reassured Tony: although her own parents' marriage was a disaster, marriage itself must be possible and even normal if Roz is doing it.
West and Tony move into a larger apartment, and West buys a spinet, to go with his lute. He has a suit now, and several ties, and eyeglasses. Tony buys a coffee grinder and a roasting pan, and a copy of The Joy of Cooking, in which she looks up esoteric recipes. She makes a hazelnut torte, and buys a fondue dish with long forks, and some skewers for making shish kebab.
More time passes. Tony wonders about having babies, but doesn't bring up the subject because West has never mentioned it. There are peace marches in the streets now, and confused sit-ins at the university. West brings home some marijuana, and they s
moke it together, and are frightened together by noises on the street outside, and don't do it again.
Their love is gentle and discreet. If it were a plant it would be a fern, light green and feathery and delicate; if a musical instrument, a flute. If a painting it would be a water lily by Monet, one of the more pastel renditions, with its liquid depths, its reflections, its different falls of light. "You're my best friend," West tells Tony, stroking her hair back from her forehead. "I owe you a lot." Tony is touched by his gratitude, and too young to be suspicious of it.
They never mention Zenia, Tony because she thinks it will upset West, West because he thinks it will upset Tony. Zenia does not go away, however. She hovers, growing fainter, true, but still there, like the blue haze of cigarette smoke in a room after the cigarette has been put out. Tony can smell her.
One evening Zenia appears at their door. She knocks like anybody else and Tony opens, thinking it is a Girl Guide selling cookies, or else the Jehovah's Witnesses. When she sees Zenia standing there she can't think of what to say. She's holding a skewer in her hand, with chunks of lamb and tomato and green pepper threaded onto it, and for an instant she has a vision of herself plunging the skewer into Zenia, into where her heart should be, but she doesn't do this. She just stands there with her mouth open, and Zenia smiles at her and says, "Tony darling, it was such work to track you down!" and laughs with her white teeth. She's thinner now, and even more sophisticated. She's wearing a black mini-skirt, a black shawl with jet beading and long silken fringes, fishnet tights, and knee-high lace-up high-heeled boots.
"Come in," says Tony, motioning with her skewer. Lamb blood drips onto the floor.
"Who is it?" calls West from the living room, where he's playing Purcell on the spinet. He likes to play while Tony is making dinner: it's one of their little rituals.
Nobody, Tony wants to say. They had the wrong address. They went away. She wants to thrust her hands at Zenia, push her back, slam the door. But Zenia is already over the threshold.
"West! My God!" she says, striding into the living room, holding out her arms to him. "Long time no see!" West can't believe it. His eyes behind his rimless glasses are the shocked eyes of a burned baby, the amazed eyes of an interstellar traveller. He doesn't get up, he doesn't move. Zenia takes his upturned face in her two hands and kisses him twice, once on each cheek, and then a third time on the forehead. The fringes of her shawl caress him, his mouth is level with her chest. "It's so good to see old friends," says Zenia, breathing out.
Somehow or other she ends up staying for dinner, because who are Tony and West to hold grudges, and what is there to hold them about anyway? Wasn't it Zenia's defection that brought them together? And aren't they touchingly happy? Zenia tells them they are. They're just like a couple of kids, she says, kids on one long picnic, playing sand castles at the beach. So darling! She says she's delighted to see it. Then she sighs, implying that life has not treated her as well as it's been treating them. But then, she hasn't had their advantages. She's lived on the edges, out there where it's dark and sharp and there are scarcities. She's had to forage.
Where has she been? Well, Europe, she says, gesturing towards a higher, a deeper culture; and the States, where the big folks play; and the Middle East. (With a wave of her hand she invokes deserts, date palms, mystic knowledge, and better shish kebab than anything capable of being grilled in Tony's wee Canadian oven.) She avoids saying what she's been doing in these places. This and that, she says. She laughs, and says she has a short attention span.
About the money she made off with she tactfully says nothing, and Tony decides that it would be parochial of her to bring it up. Zenia does say, "Oh, there's your wonderful lute, I always loved it," as if she has no memory whatsoever of her own kidnapping of this instrument. West seems to have no memory of it either. At Zenia's request he plays a few of the old songs; though he doesn't do folksongs much any more, he says. By now he's into a cross-cultural study of polyphonal chants.
No memory, no memory. Does nobody but Tony have any memory at all? Apparently not; or rather West has no memory, and Zenia's is highly selective. She gives little nudges, little hints, and assumes a rueful expression: she has regrets, is what she implies, but she has sacrificed her own happiness for that of West. Hearth and home are what he needs, not a feckless, mossless rover like Zenia, and Tony is such a busy little housewife - isn't this cunning food! West is where he belongs: like a houseplant in the right window, just look how he's flourishing! "You two are so lucky," she whispers to Tony, a mournful catch in her voice. West overhears, as he is meant to.
"Where are you staying?" Tony asks politely, meaning, when are you leaving.
"Oh, you know," says Zenia with a shrug. "Here and there. I live from hand to mouth - or from feast to famine. Just like the old days, remember, West? Remember our feasts?" She's eating a Viennese chocolate, from a box West brought home to surprise Tony. He often brings her little treats, little atonements for the part of himself he's unable to give her. Zenia licks the dark chocolate from her fingers, one by one, gazing at West from between her eyelashes. "Delicious," she says richly.
Tony can't believe that West doesn't see through all this, this blandishment and prestidigitation, but he doesn't. He has a blind spot: his blind spot is Zenia's unhappiness. Or else her body. Men, thinks Tony with new bitterness, can't seem to tell one from the other.
A few days after that, West comes home later than usual. "I took Zenia out for a beer," he tells Tony. He has the air of a man who is being scrupulously honest even though he's been tempted not to be. "She's having a rough time. She's a very vulnerable person. I'm quite worried about her."
Vulnerable? Where did West pick up that word? Tony thinks Zenia is about as vulnerable as a cement block, but she doesn't say so. Instead she says something almost as bad. "I suppose she wants some money."
West looks hurt. "Why don't you like her?" he asks. "You used to be such good friends. She's noticed, you know. She's upset about it."
"Because of what she did to you," says Tony indignantly. "That's why I don't like her!"
West is puzzled. "What did she do to me?" he asks. He really doesn't know.
In no time at all - actually in about two weeks - Zenia has reclaimed West, in the same way she might reclaim any piece of property belonging to her, such as a suitcase left at a train station. She simply tucks West under her arm and walks off with him. It doesn't look like that to him, naturally; just to Tony. To West it looks as if he's on a rescue mission, and who is Tony to deny the attraction of that?
"I admire you a lot," he says to Tony. "You'll always be my best friend. But Zenia needs me."
"What does she need you for?" says Tony in a small clear voice.
"She's suicidal," says West. "You're the strong one, Tony. You've always been so strong."
"Zenia is as strong as an ox," says Tony.
"It's just an act," says West. "I always knew that about her. She's a deeply scarred person." Deeply scarred, thinks Tony. That can't be anyone's vocabulary but Zenia's. West has been hypnotized: it's Zenia talking, from the inside of his head. He goes on: "She's going to fall apart completely unless I do something."
Something means that West will move in with Zenia. This, according to West, will give Zenia back some of her lost confidence in herself. Tony wants to hoot with derisive laughter, but how can she? West is gazing at her earnestly, willing her to understand and to absolve him and to give him her blessing, just as if he were still in control of his own brain. But instead he's a zombie.
He's holding Tony's hands, at the kitchen table. She withdraws them and gets up and goes into her study, and shuts the door, and immerses herself in the Battle of Waterloo. After it was over the victorious soldiers celebrated, and drank all night, and roasted the flesh of the butchered cavalry horses on the metal breastplates of the dead, leaving the wounded to moan and scream in the background. Winning intoxicates you, and numbs you to the sufferings of others.
27
/>
How well she did it, thinks Tony. How completely she took us in. In the war of the sexes, which is nothing like a real war but is instead a kind of confused scrimmage in which people change allegiances at a moment's notice, Zenia was a double agent. Or not even that, because Zenia wasn't working for one side or the other. She was on no side but her own. It's even possible that her antics - Tony is old enough, now, to think of them as antics - had no motive other than her own whim, her own Byzantine notions of pleasure. Maybe she lied and tortured just for the fun of it.
Though part of what Tony feels is admiration. Despite her disapproval, her dismay, all her past anguish, there's a part of her that has wanted to cheer Zenia on, even to encourage her. To make her into a saga. To participate in her daring, her contempt for almost everything, her rapacity and lawlessness. It's like the time her mother disappeared downhill on the toboggan. No! No! On! On!
But the recognition of that came later. At the time of West's defection she was devastated. (Devastate, verb, to lay waste, to render desolate; a familiar enough term in the literature of war, thinks Tony in the cellar, surveying her sand-table and the ruins of Otto's army, and eating another clove.) She refused to cry, she refused to howl. She listened to West's footsteps as he tiptoed around the apartment, as if in a hospital. When she heard the apartment door shut behind him she scuttled out and double-locked it, and put on the chain. Then she went into the bathroom and locked that door, too. She took off her wedding ring (simple, gold, no diamonds), intending to drop it down the toilet, but instead she placed it on a cabinet shelf, next to the disinfectant. Then she subsided onto the bathroom floor. American Standard, said the toilet. Dradnats Nacirema. A Bulgarian skin ointment.
After a while she came out of the bathroom because the phone was ringing. She stood there looking at it, it and its bridal silver telephone cover; it continued to ring. She lifted it, then dropped it down again. There was nobody she wanted to talk to. She wandered into the kitchen but there was nothing she wanted to eat.