by Eudora Welty
There is Mr. Marblehall's ancestral home. It's not so wonderfully large—it has only four columns—but you always look toward it, the way you always glance into tunnels and see nothing. The river is after it now, and the little back garden has assuredly crumbled away, but the box maze is there on the edge like a trap, to confound the Mississippi River. Deep in the red wall waits the front door—it weighs such a lot, it is perfectly solid, all one piece, black mahogany.... And you see—one of them is always going in it. There is a knocker shaped like a gasping fish on the door. You have every reason in the world to imagine the inside is dark, with old things about. There's many a big, deathly-looking tapestry, wrinkling and thin, many a sofa shaped like an S. Brocades as tall as the wicked queens in Italian tales stand gathered before the windows. Everything is draped and hooded and shaded, of course, unaffectionate but close. Such rosy lamps! The only sound would be a breath against the prisms, a stirring of the chandelier. It's like old eye-lids, the house with one of its shutters, in careful working order, slowly opening outward. Then the little son softly comes and stares out like a kitten, with button nose and pointed ears and little fuzz of silky hair running along the top of his head.
The son is the worst of all. Mr. and Mrs. Marblehall had a child! When both of them were terribly old, they had this little, amazing, fascinating son. You can see how people are taken aback, how they jerk and throw up their hands every time they so much as think about it. At least, Mr. Marblehall sees them. He thinks Natchez people do nothing themselves, and really, most of them have done or could do the same thing. This son is six years old now. Close up, he has a monkey look, a very penetrating look. He has very sparse Japanese hair, tiny little pearly teeth, long little wilted fingers. Every day he is slowly and expensively dressed and taken to the Catholic school. He looks quietly and maliciously absurd, out walking with old Mr. Marblehall or old Mrs. Marblehall, placing his small booted foot on a little green worm, while they stop and wait on him. Everybody passing by thinks that he looks quite as if he thinks his parents had him just to show they could. You see, it becomes complicated, full of vindictiveness.
But now, as Mr. Marblehall walks as briskly as possible toward the river where there is sun, you have to merge him back into his proper blur, into the little party-giving town he lives in. Why look twice at him? There has been an old Mr. Marblehall in Natchez ever since the first one arrived back in 1818—with a theatrical presentation of Otway's Venice, ending with A Laughable Combat between Two Blind Fiddlers—an actor! Mr. Marblehall isn't so important. His name is on the list, he is forgiven, but nobody gives a hoot about any old Mr. Marblehall. He could die, for all they care; some people even say, "Oh, is he still alive?" Mr. Marblehall walks and walks, and now and then he is driven in his ancient fringed carriage with the candle burners like empty eyes in front. And yes, he is supposed to travel for his health. But why consider his absence? There isn't any other place besides Natchez, and even if there were, it would hardly be likely to change Mr. Marblehall if it were brought up against him. Big fingers could pick him up off the Esplanade and take him through the air, his old legs still measuredly walking in a dangle, and set him down where he could continue that same old Natchez stroll of his in the East or the West or Kingdom Come. What difference could anything make now about old Mr. Marblehall—so late? A week or two would go by in Natchez and then there would be Mr. Marblehall, walking down Catherine Street again, still exactly in the same degree alive and old.
People naturally get bored. They say, "Well, he waited till he was sixty years old to marry, and what did he want to marry for?" as though what he did were the excuse for their boredom and their lack of concern. Even the thought of his having a stroke right in front of one of the Pilgrimage houses during Pilgrimage Week makes them only sigh, as if to say it's nobody's fault but his own if he wants to be so insultingly and precariously well-preserved. He ought to have a little black boy to follow around after him. Oh, his precious old health, which never had reason to be so inspiring! Mr. Marblehall has a formal, reproachful look as he stands on the corners arranging himself to go out into the traffic to cross the streets. It's as if he's thinking of shaking his stick and saying, "Well, look! I've done it, don't you see?" But really, nobody pays much attention to his look. He is just like other people to them. He could have easily danced with a troupe of angels in Paradise every night, and they wouldn't have guessed. Nobody is likely to find out that he is leading a double life.
The funny thing is he just recently began to lead this double life. He waited until he was sixty years old. Isn't he crazy? Before that, he'd never done anything. He didn't know what to do. Everything was for all the world like his first party. He stood about, and looked in his father's books, and long ago he went to France, but he didn't like it.
Drive out any of these streets in and under the hills and you find yourself lost. You see those scores of little galleried houses nearly alike. See the yellowing China trees at the eaves, the round flower beds in the front yards, like bites in the grass, listen to the screen doors whining, the ice wagons dragging by, the twittering noises of children. Nobody ever looks to see who is living in a house like that. These people come out themselves and sprinkle the hose over the street at this time of day to settle the dust, and after they sit on the porch, they go back into the house, and you hear the radio for the next two hours. It seems to mourn and cry for them. They go to bed early.
Well, old Mr. Marblehall can easily be seen standing beside a row of zinnias growing down the walk in front of that little house, bending over, easy, easy, so as not to strain anything, to stare at the flowers. Of course he planted them! They are covered with brown—each petal is a little heart-shaped pocket of dust. They don't have any smell, you know. It's twilight, all amplified with locusts screaming; nobody could see anything. Just what Mr. Marblehall is bending over the zinnias for is a mystery, any way you look at it. But there he is, quite visible, alive and old, leading his double life.
There's his other wife, standing on the night-stained porch by a potted fern, screaming things to a neighbor. This wife is really worse than the other one. She is more solid, fatter, shorter, and while not so ugly, funnier looking. She looks like funny furniture—an unornamented stair post in one of these little houses, with her small monotonous round stupid head—or sometimes like a woodcut of a Bavarian witch, forefinger pointing, with scratches in the air all around her. But she's so static she scarcely moves, from her thick shoulders down past her cylindered brown dress to her short, stubby house slippers. She stands still and screams to the neighbors.
This wife thinks Mr. Marblehall's name is Mr. Bird. She says, "I declare I told Mr. Bird to go to bed, and look at him! I don't understand him!" All her devotion is combustible and goes up in despair. This wife tells everything she knows. Later, after she tells the neighbors, she will tell Mr. Marblehall. Cymbal-breasted, she fills the house with wifely complaints. She calls, "After I get Mr. Bird to bed, what does he do then? He lies there stretched out with his clothes on and don't have one word to say. Know what he does?"
And she goes on, while her husband bends over the zinnias, to tell what Mr. Marblehall (or Mr. Bird) does in bed. She does tell the truth. He reads Terror Tales and Astonishing Stories. She can't see anything to them: they scare her to death. These stories are about horrible and fantastic things happening to nude women and scientists. In one of them, when the characters open bureau drawers, they find a woman's leg with a stocking and garter on. Mrs. Bird had to shut the magazine. "The glutinous shadows," these stories say, "the red-eyed, muttering old crone," "the moonlight on her thigh," "an ancient cult of sun worshipers," "an altar suspiciously stained..." Mr. Marblehall doesn't feel as terrified as all that, but he reads on and on. He is killing time. It is richness without taste, like some holiday food. The clock gets a fruity bursting tick, to get through midnight—then leisurely, leisurely on. When time is passing it's like a bug in his ear. And then Mr. Bird—he doesn't even want a shade on the
light, this wife moans respectably. He reads under a bulb. She can tell you how he goes straight through a stack of magazines. "He might just as well not have a family," she always ends, unjustly, and rolls back into the house as if she had been on a little wheel all this time.
But the worst of them all is the other little boy. Another little boy just like the first one. He wanders around the bungalow full of tiny little schemes and jokes. He has lost his front tooth, and in this way he looks slightly different from Mr. Marblehall's other little boy—more shocking. Otherwise, you couldn't tell them apart if you wanted to. They both have that look of cunning little jugglers, violently small under some spotlight beam, preoccupied and silent, amusing themselves. Both of the children will go into sudden fits and tantrums that frighten their mothers and Mr. Marblehall to death. Then they can get anything they want. But this little boy, the one who's lost the tooth, is the smarter. For a long time he supposed that his mother was totally solid, down to her thick separated ankles. But when she stands there on the porch screaming to the neighbors, she reminds him of those flares that charm him so, that they leave burning in the street at night—the dark solid ball, then, tongue-like, the wicked, yellow, continuous, enslaving blaze on the stem. He knows what his father thinks.
Perhaps one day, while Mr. Marblehall is standing there gently bent over the zinnias, this little boy is going to write on a fence, "Papa leads a double life." He finds out things you wouldn't find out. He is a monkey.
You see, one night he is going to follow Mr. Marblehall (or Mr. Bird) out of the house. Mr. Marblehall has said as usual that he is leaving for one of his health trips. He is one of those correct old gentlemen who are still going to the wells and drinking the waters—exactly like his father, the late old Mr. Marblehall. But why does he leave on foot? This will occur to the little boy.
So he will follow his father. He will follow him all the way across town. He will see the shining river come winding around. He will see the house where Mr. Marblehall turns in at the wrought-iron gate. He will see a big speechless woman come out and lead him in by the heavy door. He will not miss those rosy lamps beyond the many-folded draperies at the windows. He will run around the fountains and around the Japonica trees, past the stone figure of the pigtailed courtier mounted on the goat, down to the back of the house. From there he can look far up at the strange upstairs rooms. In one window the other wife will be standing like a giant, in a long-sleeved gathered nightgown, combing her electric hair and breaking it off each time in the comb. From the next window the other little boy will look out secretly into the night, and see him—or not see him. That would be an interesting thing, a moment of strange telepathies. (Mr. Marblehall can imagine it.) Then in the corner room there will suddenly be turned on the bright, naked light. Aha! Father!
Mr. Marblehall's little boy will easily climb a tree there and peep through the window. There, under a stark shadeless bulb, on a great four-poster with carved griffins, will be Mr. Marblehall, reading Terror Tales, stretched out and motionless.
Then everything will come out.
At first, nobody will believe it.
Or maybe the policeman will say, "Stop! How dare you!"
Maybe, better than that, Mr. Marblehall himself will confess his duplicity—how he has led two totally different lives, with completely different families, two sons instead of one. What an astonishing, unbelievable, electrifying confession that would be, and how his two wives would topple over, how his sons would cringe! To say nothing of most men aged sixty-six. So thinks self-consoling Mr. Marblehall.
You will think, what if nothing ever happens? What if there is no climax, even to this amazing life? Suppose old Mr. Marblehall simply remains alive, getting older by the minute, shuttling, still secretly, back and forth?
Nobody cares. Not an inhabitant of Natchez, Mississippi, cares if he is deceived by old Mr. Marblehall. Neither does anyone care that Mr. Marblehall has finally caught on, he thinks, to what people are supposed to do. This is it: they endure something inwardly—for a time secretly; they establish a past, a memory; thus they store up life. He has done this; most remarkably, he has even multiplied his life by deception; and plunging deeper and deeper he speculates upon some glorious finish, a great explosion of revelations ... the future.
But he still has to kill time, and get through the clocking nights. Otherwise he dreams that he is a great blazing butterfly stitching up a net; which doesn't make sense.
Old Mr. Marblehall! He may have years ahead yet in which to wake up bolt upright in the bed under the naked bulb, his heart thumping, his old eyes watering and wild, imagining that if people knew about his double life, they'd die.
FLOWERS FOR MARJORIE
He was one of the modest, the shy, the sandy haired—one of those who would always have preferred waiting to one side.... A row of feet rested beside his own where he looked down. Beyond was the inscribed base of the drinking fountain which stemmed with a troubled sound up into the glare of the day. The feet were in Vs, all still. Then down at the end of the bench, one softly began to pat. It made an innuendo at a dainty pink chewing-gum wrapper blowing by.
He would not look up. When the chewing-gum wrapper blew over and tilted at his foot, he spat at some sensing of invitation and kicked it away. He held a toothpick in his mouth.
Someone spoke. "You goin' to join the demonstration at two o'clock?"
Howard lifted his gaze no further than the baggy corduroy knees in front of his own.
"Demonstration...?" The tasteless toothpick stuck to his lips; what he said was indistinct.
But he snapped the toothpick finally with his teeth and puffed it out of his mouth. It landed in the grass like a little tent. He was surprised at the sight of it, and at his neatness and proficiency in blowing it out. And that little thing started up all the pigeons. His eyes ached when they whirled all at once, as though a big spoon stirred them in the sunshine. He closed his eyes upon their flying opal-changing wings.
And then, with his eyes shut, he had to think about Marjorie. Always now like something he had put off, the thought of her was like a wave that hit him when he was tired, rising impossibly out of stagnancy and deprecation while he sat in the park, towering over his head, pounding, falling, going back and leaving nothing behind it.
He stood up, looked at the position of the sun, and slowly started back to her.
He was panting from the climb of four flights, and his hand groped for the knob in the hall shadows. As soon as he opened the door he shrugged and threw his hat on the bed, so Marjorie would not ask him how he came out looking about the job at Columbus Circle; for today, he had not gone back to inquire.
Nothing was said, and he sat for a while on the couch, his hands spread on his knees. Then, before he would meet her eye, he looked at the chair in the room, which neither one would use, and there lay Marjorie's coat with a flower stuck in the buttonhole. He gave a silent despairing laugh that turned into a cough.
Marjorie said, "I walked around the block—and look what I found." She too was looking only at the pansy, full of pride.
It was bright yellow. She only found it, Howard thought, but he winced inwardly, as though she had displayed some power of the spirit. He simply had to sit and stare at her, his hands drawn back into his pockets, feeling a match.
Marjorie sat on the little trunk by the window, her round arm on the sill, her soft cut hair now and then blowing and streaming like ribbon-ends over her curling hand where she held her head up. It was hard to remember, in this city of dark, nervous, loud-spoken women, that in Victory, Mississippi, all girls were like Marjorie—and that Marjorie was in turn like his home.... Or was she? There were times when Howard would feel lost in the one little room. Marjorie often seemed remote now, or it might have been the excess of life in her rounding body that made her never notice any more the single and lonely life around her, the very pressing life around her. He could only look at her.... Her breath whistled a little between her parted lips as she stirre
d in some momentary discomfort.
Howard lowered his eyes and once again he saw the pansy. There it shone, a wide-open yellow flower with dark red veins and edges. Against the sky-blue of Marjorie's old coat it began in Howard's anxious sight to lose its identity of flower-size and assume the gradual and large curves of a mountain on the horizon of a desert, the veins becoming crevasses, the delicate edges the giant worn lips of a sleeping crater. His heart jumped to his mouth....
He snatched the pansy from Marjorie's coat and tore its petals off and scattered them on the floor and jumped on them!
Marjorie watched him in silence, and slowly he realized that he had not acted at all, that he had only had a terrible vision. The pansy still blazed on the coat, just as the pigeons had still flown in the park when he was hungry. He sank back onto the couch, trembling with the desire and the pity that had overwhelmed him, and said harshly, "Haw long before your time comes?"
