The Chatham School Affair

by Thomas H. Cook

  “An artist should follow only his passions,” she said. “All else is a noose around his neck.”

  Now, when I recall that line, the calm with which she said it, I feel its dreadful premonition, and in my mind see an old car hurling down a weedy, overgrown embankment, a figure turning at the water’s edge, eyes wide, aghast, uncomprehending. And after that, forever after that, the long, unfading echo of her scream.

  CHAPTER 6

  In the years following Miss Channing’s trial, my father assembled a small collection of materials concerning the Chatham School Affair, one he bequeathed to me at his death, and which I’ve been unable to discard. I’ve given other things away—my mother’s knitting needles, my father’s quill pen, stacks of books to the village library. But my father’s collection has remained intact, tucked into the bottom corner of the bookshelf in my office, all but hidden by the floor lamp that stands in front of it. It is a slender archive, especially given the events it summons up. Madness and suicide and murder, the forlorn world left in their wake. And yet there are times when my attention lingers on it with a curious nostalgia. For I know that it holds the defining moment of my youth.

  It consists of nothing more than a folder containing a single copy of the Chatham School Annual for 1927, a few newspaper clippings and photographs. There is even one of Sarah Doyle, though it was unintended. In the picture she is rushing down the little walkway beside the school. Her back is to the camera, and snow is falling all around her, gathering on her long, dark cape, while the boys in the yard—the real focus of the picture—playfully heave packed snowballs at each other, my father on the front steps of the school, arms folded over his chest, looking on with mock disapproval.

  To these few things my father added three books, two of them directly related to what happened on Black Pond, one considerably less so.

  The first is Mr. Parsons’ memoir, the work he quickly put together and had privately published just after the trial. As a book, it leaves a great deal to be desired. In fact, it is little more than an assortment of quotations from the trial transcript awkwardly strung together by Mr. Parsons’ own rather tedious narrative.

  The second volume is more detailed. Titled A Mortal Flaw, it was written by one Wilfred M. Peyton, a professor of moral philosophy at Oberlin College. Scarcely a hundred pages long, it is essentially an extended essay published in 1929 by a small religious press, and hampered not only by Professor Peyton’s harsh, sermonizing tone, but by the way he singled out Miss Channing as the true villain in what he insists on calling—over and over again, like words from a warlock’s chant—“The Black Pond Murders.” Such was his rage against Miss Channing that whenever he spoke of her, it was with an Old Testament prophet’s infuriated rebuke. “To her father, she was ‘Libby,’” he wrote in a typical passage, “for by such endearment did he call her in her youth. But to the ages she should be more rightly known as Elizabeth, a cold and formal name that must be included among those of other women like herself: Delilah, Salome, and Jezebel.”

  Of the three volumes of my father’s archive, Professor Peyton’s was the only one he clearly hated. So much so that he scribbled angry notes throughout its text, sometimes disputing a small, inconsequential fact (noting, for example, that the school library had three thousand books, not the mere two thousand attributed by Peyton), sometimes quarreling with an interpretation, but always seeking to undermine the book’s authority to those who might later read it.

  The reason my father so detested Professor Peyton’s book is obvious. For it was not only an attack upon Miss Channing, but upon Chatham School itself, as an “indulgent, coddling retreat for wealthy, dissolute boys.” Indeed, at the end of the book Professor Peyton flatly concluded that “the unspeakable outrage which occurred on the otherwise tranquil surface of Black Pond on 29 May 1927 was emblematic of the moral relativism and contempt for established authority that has emerged in educational theory during the last two decades, and of which Chatham School is only the most odious example.” It never surprised me, of course, that this was a passage my father had underlined in black ink, then appended his own heartrending cry of “NO! NO! NO!”

  But for all its bluster and moral posturing, for all the pain it caused my father, A Mortal Flaw was, at last, a completely dismissible book, one which, after I read it, I never found the slightest need to pick up again.

  I can’t say the same for the final volume in my father’s collection, however. For it was a book I have returned to many times, as if looking for some answer to what happened on Black Pond that day, perhaps even for what might have prevented it, some way to sedate our hearts, make them satisfied with less.

  The third book is entitled A View from the Window, and on the back of the book’s cover there is a photograph of its author, Jonathan Channing, a tall, somber man in his late forties, staring at the camera from the courtyard of the Louvre.

  “You can take it if you want,” Miss Channing said the day she lent it to me.

  It was late on a Friday afternoon, the first week of class now ended. My father had sent me to Miss Channing’s classroom with a box of art books he’d picked up at a Boston bookstore the day before. Always somewhat impulsive, he’d been eager to get Miss Channing’s opinion of them before turning them over to Mrs. Cartwright in the library on Monday morning.

  She’d been standing at the cabinet, putting away her supplies, when I came through the door.

  “My father wanted you to take a look at these.” I lifted the box slightly. “Art books.”

  She closed the door of the cabinet and walked to her desk. “Let’s see them,” she said.

  I brought them to her, then watched while she looked through each book in turn, slowly turning the pages, pausing to gaze at the paintings she found reproduced there, sometimes mentioning the name of the gallery in which a painting now hung. “This is in Florence,” she’d say, or “I saw this at the Prado.” She turned the book toward me. “This one always frightened me. What do you think, Henry?”

  I looked at the painting. It showed a little girl with stringy blond hair, crouched before an enormous tree, its jagged limbs stretching to both sides of the canvas, the gnarled limbs hung with surreal images of floating heads and body parts, the colors livid, greens the color of bile, reds the color of fresh blood. Staring at the tree, the child appeared frozen by the terror and immensity of what she faced.

  “Have you ever felt like her?” Miss Channing asked me quietly, her gaze fixed on the illustration, rife with its malicious and chaotic gore.

  I shook my head. “I don’t think so, Miss Channing.” Which was true then, though it is no longer so.

  She turned the book back around, leafing through it once again, until she came upon a photograph of the courtyard at the Louvre. “There’s a picture of my father standing here,” she told me. “They used it for his book.”

  “His book?”

  “Yes,” Miss Channing said. “He was a travel writer. He wrote a great many articles, but only one book.”

  Out of mere politeness I said, “I’d like to read it sometime.”

  She took this as a genuine expression of interest, opened the drawer of her desk, and drew out a single volume. “This is it,” she said as she handed it to me. “The picture I mentioned is on the back.”

  I turned the book over and looked at the photograph. It showed a tall, slender man, handsome in a roguish sort of way, dressed in dark trousers and a white dinner jacket, his hair slicked back in the fashion of the time, but with a wilder touch added in the form of a single black curl that fell just over the corner of his right eye.

  “I was ten years old when that picture was taken,” Miss Channing said. “We’d just gotten back from a visit to Rouen. My father was interested in the cathedral there.”

  “Was he religious?”

  “Not at all,” she said with a smile I found intriguing.

  I lifted the book toward her, but she made no move to reclaim it.

  “You can tak
e it if you want,” she said.

  I had not really wanted to read her father’s book, but I took it with me anyway, reluctantly, unable to find an acceptable way to refuse it.

  As it turned out, I read it that same afternoon, sitting alone on the coastal bluff, the other boys of Chatham School either engaged in a game of football on the playing field or gathered outside Quilty’s Ice Cream Parlor in the village.

  In earlier years I’d tried to be one of them. I’d joined them in their games, even participated in the general mischief, playing pranks on teachers or making up nicknames for them. But in the end it hadn’t worked. For I was still the headmaster’s son, a position that made it impossible for them to accept me as just another boy at Chatham School, one with whom they could be as vulgar and irreverent as they pleased, calling my father “Old Grizzlewald,” as I knew they often did.

  Though never exactly ostracized, I’d finally turned bookish and aloof, a boy who could often be found reading in the porch swing or at the edge of the playing field, a “scholarly lad” as my father sometimes called me, though in a tone that never struck me as entirely complimentary.

  Recalling the boy I was in those days, so solitary and isolated, I’ve sometimes thought myself one of the victims of the Chatham School Affair, my life no less deeply wounded by the crime that rocked Black Pond. Then, as if to bring me back to what really happened there, my mind returns me to a little girl on a windy beach. She is running against the wind, an old kite whipping left and right behind her. Finally it lifts and she watches it joylessly, her eyes wreathed in that forsakenness that would never leave them after that. Remembering how she looked at that moment in her life, I instantly recognize who Black Pond’s victims truly were, and in that captured moment perceive the terror I escaped, the full depth of a loss that was never mine.

  I learned a great deal about Miss Channing the afternoon I read her father’s book. I learned about her father too: the fact that he’d been born into a privileged Massachusetts family, educated at Harvard College, and worked as a journalist in Boston during the years following his graduation. At twenty-three he’d married the former Julia Mason Rockbridge, also from a distinguished New England family. The two had taken up residence on Marlborough Street, near Boston Common, and in 1904 had a daughter, Elizabeth Rockbridge Channing. After that Mr. Channing continued to work for the Boston Globe, while his wife performed the usual functions of an upper-class woman of that time. Then, in the fall of 1908, Julia Channing fell ill. She lingered for some weeks, but finally died in January 1909, leaving four-year-old Elizabeth entirely to her father’s care.

  More than anything, A View from the Window is a day-to-day record of the years Miss Channing lived and traveled with her father, a period during which they’d never actually had a fixed abode of any and, nor any permanent attachments, save for each other. The purpose of such a rootless life, Mr. Channing’s purpose in insisting upon it, is revealed in the opening paragraphs of his narrative:

  After my wife’s death, to stay in Boston seemed doom to me. I walked about our house on Marlborough Street, gazing at the many luxuries she had acquired over the years, the velvet curtains, the Tiffany lamp, and a host of other appendages that, like Julia, were elegant in their way, but for which I could no longer feel any enduring affection. And so I decided to move on, to live in the world at large, to acquaint my daughter Libby with its most spacious and inaccessible climes.

  As to my reasoning in this matter, I have never hidden it, nor wished to hide it. I chose to educate my daughter as I saw fit. And with what purpose in mind? For none other than that she should live a life freed from the constrictive influence of any particular village or nation, nor ever be bound by the false constraints of custom, ideology, or blood.

  And yet, despite its grandly stated purpose, A View from the Window remained essentially a travelogue, though one that detailed not only sights and sounds and historical backgrounds, but the life Miss Channing and her father had lived as together they’d roamed the world.

  It had been a vagabond life, the book made clear, a life lived continually in transit, with nothing to give it direction save for Mr. Channing’s furious determination to teach his daughter his own unique philosophy of life, relentlessly driving it home by escorting young Libby, as he called her, to bizarre and tragic sites, locations he’d selected for the lessons he planned to teach.

  Reading that philosophy on the bluff that afternoon, I felt myself utterly swept away by a view of life so different from my father’s, from the governing assumptions of Chatham and of Chatham School, from any way of seeing things I’d ever encountered before, that I felt as if I’d suddenly entered a new galaxy, where, according to Mr. Channing, there should be “no rules for the rule of life,” nor any hindrance whatsoever to a man’s unbridled passions.

  It was a world directly opposite to the one I’d been taught to revere, everything reversed or turned topsy-turvy. Self-control became a form of slavery, vows and contracts mere contrivances to subdue the spirit, the moral law no more absolute than a passing fad. More than anything, it was a world in which even the darkest evils were given a strange and somber dignity:

  We took a boat from Sorrento, and disembarked a short time later at Marina Grande, on the eastern coast of Capri. The town was festive and welcoming, and Libby took great delight in its scents and in the winding labyrinth of its streets, skipping playfully ahead of me from time to time. She seemed captivated by the nearly tropical lushness of the place, particularly with the luxuriousness of its vegetation, forever plucking leaves and petals from the shrubs and flowers we encountered on the way.

  But I had brought her to Capri for more than an afternoon’s lark. Nor was it the quaint village byways and varied plant life I had brought her here to see. Mine was another purpose, as well as another destination, one I could but indistinctly glimpse from the town’s narrow pathways.

  And so we journeyed upward and upward for over an hour, baked in a nearly blinding summer heat, through the spectacular flowered hedges that lined both sides of the earthen walkway. The smell of flowers was everywhere, as were the sounds of small lizards, dozens of them, scurrying through the brush or darting like thin green ribbons across our path.

  The walk was arduous, but the great ruin of the Villa di Giovi made infamous by Suetonius, loomed enticingly above, beckoning me with the same sinister and mysterious call the sirens had issued to Odysseus from the Bay of Naples far below. For like the ancient world of those mythic seamen, the place I journeyed to that morning had been bloody and perverse.

  And yet there was something glorious here as well, something incontestably free in the wild pleasure gardens the emperor had designed, the human bodies he’d formed into living sculptures, even in the heedless and unrestrained delight he’d taken in their libidinous show. For it was in this place that Tiberius had exalted physical sensuality over spiritual aridness, breaking every known taboo, pairing boys with boys, girls with girls, covering his own wrinkled frame with the smooth bodies of the very young. And though hideous and unnatural as it might seem, still it remained the pagan world’s most dramatic gesture toward the truly illimitable.

  And so I brought Libby here, to walk with her within the bowers of this ruined yet still magnificent grove, and once there, I sat with her in full view of the infamous Salto di Tiberio and spoke to her of what life should be, the heights it should reach, the passions it should embrace, all this said and done in the hope that she might come to live it as a bird on the wing. For life is best lived at the edge of folly.

  An evening shade had fallen over the bluff, the deserted beach beneath it, the whole small realm of Chatham, when I finished A View from the Window. I tucked the book under my arm and wandered back down Myrtle Street toward home. On the way I saw Danny Sheen loping across the playing field, and Charlie Patterson lugging a battered trunk along the front walkway of Chatham School. Upstairs the lights were on, and I knew the boys were either studying in the library or talking qu
ietly in the common room, that soon the bell would call them to their dinner, my father dining with them as he always did on Friday evenings, rising at the end of the meal, ringing his little bell, then dismissing them with some quotation he hoped might serve them in the years to come.

  Thinking of all that, Myrtle Street like a flat, turgid stream flowing sluggishly ahead of me, I realized that I’d never known any way of life other than the one defined by Chatham School, nor felt that any other might be open to me. Certainly I’d never conceived of my destiny as anything but derided. I would graduate from Chatham School, go to college, make my living, have a family. I would do what my father had done, and his father before him. A different date marked my birth, and a different date would mark my death. Other than that, I would live as they had lived, die as they had died, find whatever joy or glory there might be in life along the same beaten path they’d trod before me through the misty ages.

  But as I made my way home that evening, none of that seemed any longer as settled as it once had. The restlessness that seized me from time to time, the sullenness into which I fell, the way I cringed as my father offered his trusty platitudes to the assembled boys, the whole inchoate nature of my discontent began to take a certain shape and definition so that for the first time, I dimly began to perceive what I really wanted out of life.

  It was simple. I wanted to be free. I wanted to answer only to myself, to strike out toward something. I didn’t know at that moment how to gain my freedom, or what to do with it. I knew only that I had discovered what I wanted, and that with that discovery a great pall had lifted, a door opened. I didn’t know where I was going, only that I had to go in a different direction than my father had gone, or that any of the other boys of Chatham School would likely go.