The Human Stain

by Philip Roth

“Maybe it’s a French thing,” I said. “Isn’t there a lot of it in Balzac? In Stendhal? Aren’t there anonymous letters in The Red and the Black?”

  “I don’t remember.”

  “Look, for some reason everything you do must have ruthlessness as its explanation, and everything Delphine Roux does must have virtue as its explanation. Isn’t mythology full of giants and monsters and snakes? By defining you as a monster, she defines herself as a heroine. This is her slaying of the monster. This is her revenge for your preying on the powerless. She’s giving the whole thing mythological status.”

  From the smile indulgently offered me, I saw that I wasn’t making much headway by spinning off, even jokingly, a pre-Homeric interpretation of the anonymous indictment. “You can’t find in mythmaking,” he told me, “an explanation for her mental processes. She hasn’t the imaginative resources for mythmaking. Her métier is the stories that the peasants tell to account for their misery. The evil eye. The casting of spells. I’ve cast a spell over Faunia. Her métier is folktales full of witches and wizards.”

  We were enjoying ourselves now, and I realized that in my effort to distract him from his rampaging pique by arguing for the primacy of his pleasure, I had given a boost to his feeling for me—and exposed mine for him. I was gushing and I knew it. I surprised myself with my eagerness to please, felt myself saying too much, explaining too much, overinvolved and overexcited in the way you are when you’re a kid and you think you’ve found a soul mate in the new boy down the street and you feel yourself drawn by the force of the courtship and so act as you don’t normally do and a lot more openly than you may even want to. But ever since he had banged on my door the day after Iris’s death and proposed that I write Spooks for him, I had, without figuring or planning on it, fallen into a serious friendship with Coleman Silk. I wasn’t paying attention to his predicament as merely a mental exercise. His difficulties mattered to me, and this despite my determination to concern myself, in whatever time I have left, with nothing but the daily demands of work, to be engrossed by nothing but solid work, in search of adventure nowhere else—to have not even a life of my own to care about, let alone somebody else’s.

  And I realized all this with some disappointment. Abnegation of society, abstention from distraction, a self-imposed separation from every last professional yearning and social delusion and cultural poison and alluring intimacy, a rigorous reclusion such as that practiced by religious devouts who immure themselves in caves or cells or isolated forest huts, is maintained on stuff more obdurate than I am made of. I had lasted alone just five years—five years of reading and writing a few miles up Madamaska Mountain in a pleasant two-room cabin situated between a small pond at the back of my place and, through the scrub across the dirt road, a ten-acre marsh where the migrating Canada geese take shelter each evening and a patient blue heron does its solitary angling all summer long. The secret to living in the rush of the world with a minimum of pain is to get as many people as possible to string along with your delusions; the trick to living alone up here, away from all agitating entanglements, allurements, and expectations, apart especially from one’s own intensity, is to organize the silence, to think of its mountaintop plenitude as capital, silence as wealth exponentially increasing. The encircling silence as your chosen source of advantage and your only intimate. The trick is to find sustenance in (Hawthorne again) “the communications of a solitary mind with itself.” The secret is to find sustenance in people like Hawthorne, in the wisdom of the brilliant deceased.

  It took time to face down the difficulties set by this choice, time and heronlike patience to subdue the longings for everything that had vanished, but after five years I’d become so skillful at surgically carving up my days that there was no longer an hour of the eventless existence I’d embraced that didn’t have its importance to me. Its necessity. Its excitement even. I no longer indulged the pernicious wish for something else, and the last thing I thought I could endure again was the sustained company of someone else. The music I play after dinner is not a relief from the silence but something like its substantiation: listening to music for an hour or two every evening doesn’t deprive me of the silence—the music is the silence coming true. I swim for thirty minutes in my pond first thing every summer morning, and, for the rest of the year, after my morning of writing—and so long as the snow doesn’t make hiking impossible—I’m out on the mountain trails for a couple of hours nearly every afternoon. There has been no recurrence of the cancer that cost me my prostate. Sixty-five, fit, well, working hard—and I know the score. I have to know it.

  So why, then, having turned the experiment of radical seclusion into a rich, full solitary existence—why, with no warning, should I be lonely? Lonely for what? What’s gone is gone. There’s no relaxing the rigor, no undoing the renunciations. Lonely for precisely what? Simple: for what I had developed an aversion to. For what I had turned my back on. For life. The entanglement with life.

  This was how Coleman became my friend and how I came out from under the stalwartness of living alone in my secluded house and dealing with the cancer blows. Coleman Silk danced me right back into life. First Athena College, then me—here was a man who made things happen. Indeed, the dance that sealed our friendship was also what made his disaster my subject. And made his disguise my subject. And made the proper presentation of his secret my problem to solve. That was how I ceased being able to live apart from the turbulence and intensity that I had fled. I did no more than find a friend, and all the world’s malice came rushing in.

  Later that afternoon, Coleman took me to meet Faunia at a small dairy farm six miles from his house, where she lived rent-free in exchange for sometimes doing the milking. The dairy operation, a few years old now, had been initiated by two divorced women, college-educated environmentalists, who’d each come from a New England farming family and who had pooled their resources—pooled their young children as well, six children who, as the owners liked to tell their customers, weren’t dependent on Sesame Street to learn where milk comes from—to take on the almost impossible task of making a living by selling raw milk. It was a unique operation, nothing like what was going on at the big dairy farms, nothing impersonal or factorylike about it, a place that wouldn’t seem like a dairy farm to most people these days. It was called Organic Livestock, and it produced and bottled the raw milk that could be found in local general stores and in some of the region’s supermarkets and was available, at the farm, for steady customers who purchased three or more gallons a week.

  There were just eleven cows, purebred Jerseys, and each had an old-fashioned cow name rather than a numbered ear tag to identify it. Because their milk was not mixed with the milk of the huge herds that are injected with all sorts of chemicals, and because, uncompromised by pasteurization and unshattered by homogenization, the milk took on the tinge, even faintly the flavor, of whatever they were eating season by season—feed that had been grown without the use of herbicides, pesticides, or chemical fertilizers—and because their milk was richer in nutrients than blended milk, it was prized by the people around who tried to keep the family diet to whole rather than processed foods. The farm has a strong following particularly among the numerous people tucked away up here, the retired as well as those raising families, in flight from the pollutants, frustrations, and debasements of a big city. In the local weekly, a letter to the editor will regularly appear from someone who has recently found a better life out along these rural roads, and in reverent tones mention will be made of Organic Livestock milk, not simply as a tasty drink but as the embodiment of a freshening, sweetening country purity that their city-battered idealism requires. Words like “goodness” and “soul” crop up regularly in these published letters, as if downing a glass of Organic Livestock milk were no less a redemptive religious rite than a nutritional blessing. “When we drink Organic Livestock milk, our body, soul, and spirit are getting nourished as a whole. Various organs in our body receive this wholeness and appreciate it in
a way we may not perceive.” Sentences like that, sentences with which otherwise sensible adults, liberated from whatever vexation had driven them from New York or Hartford or Boston, can spend a pleasant few minutes at the desk pretending that they are seven years old.

  Though Coleman probably used, all told, no more than the half cup of milk a day he poured over his morning cereal, he’d signed on with Organic Livestock as a three-gallon-a-week customer. Doing this allowed him to pick up his milk, fresh from the cow, right at the farm—to drive his car in from the road and down the long tractor path to the barn and to walk into the barn and get the milk cold out of the refrigerator. He’d arranged to do this not so as to be able to procure the price break extended to three-gallon customers but because the refrigerator was set just inside the entryway to the barn and only some fifteen feet from the stall where the cows were led in to be milked one at a time, twice a day, and where at 5 P.M. (when he showed up) Faunia, fresh from her duties at the college, would be doing the milking a few times a week.

  All he ever did there was watch her work. Even though there was rarely anyone else around at that time, Coleman remained outside the stall looking in and let her get on with the job without having to bother to talk to him. Often they said nothing, because saying nothing intensified their pleasure. She knew he was watching her; knowing she knew, he watched all the harder—and that they weren’t able to couple down in the dirt didn’t make a scrap of difference. It was enough that they should be alone together somewhere other than in his bed, it was enough to have to maintain the matter-of-factness of being separated by unsurpassable social obstacles, to play their roles as farm laborer and retired college professor, to perform consummately at her being a strong, lean working woman of thirty-four, a wordless illiterate, an elemental rustic of muscle and bone who’d just been in the yard with the pitchfork cleaning up from the morning milking, and at his being a thoughtful senior citizen of seventy-one, an accomplished classicist, an amplitudinous brain of a man replete with the vocabularies of two ancient tongues. It was enough to be able to conduct themselves like two people who had nothing whatsoever in common, all the while remembering how they could distill to an orgasmic essence everything about them that was irreconcilable, the human discrepancies that produced all the power. It was enough to feel the thrill of leading a double life.

  There was, at first glance, little to raise unduly one’s carnal expectations about the gaunt, lanky woman spattered with dirt, wearing shorts and a T-shirt and rubber boots, whom I saw in with the herd that afternoon and whom Coleman identified as his Voluptas. The carnally authoritative-looking creatures were those with the bodies that took up all the space, the creamy-colored cows with the free-swinging, girderlike hips and the barrel-wide paunches and the disproportionately cartoonish milk-swollen udders, the unagitated, slow-moving, strife-free cows, each a fifteen-hundred-pound industry of its own gratification, big-eyed beasts for whom chomping at one extremity from a fodder-filled trough while being sucked dry at the other by not one or two or three but by four pulsating, untiring mechanical mouths—for whom sensual stimulus simultaneously at both ends was their voluptuous due. Each of them deep into a bestial existence blissfully lacking in spiritual depth: to squirt and to chew, to crap and to piss, to graze and to sleep—that was their whole raison d’être. Occasionally (Coleman explained to me) a human arm in a long plastic glove is thrust into the rectum to haul out the manure and then, by feeling with the glove through the rectal wall, guides the other arm in inserting a syringelike breeding gun up the reproductive tract to deposit semen. They propagate, that means, without having to endure the disturbance of the bull, coddled even in breeding and then assisted in delivery—and in what Faunia said could prove to be an emotional process for everyone involved—even on below-zero nights when a blizzard is blowing. The best of carnal everything, including savoring at their leisure mushy, dripping mouthfuls of their own stringy cud. Few courtesans have lived as well, let alone workaday women.

  Among those pleasured creatures and the aura they exuded of an opulent, earthy oneness with female abundance, it was Faunia who labored like the beast of burden for all that she seemed, with the cows framing her figure, one of evolution’s more pathetic flyweights. Calling them to come out from the open shed where they were reposefully sprawled in a mix of hay and shit—“Let’s go, Daisy, don’t give me a hard time. C’mon now, Maggie, that’s a good girl. Move your ass, Flossie, you old bitch”—grabbing them by the collar and driving and cajoling them through the sludge of the yard and up one step onto the concrete floor of the milking parlor, shoving these cumbersome Daisys and Maggies in toward the trough until they were secure in the stanchion, measuring out and pouring them each their portion of vitamins and feed, disinfecting the teats and wiping them clean and starting the milk flow with a few jerks of the hand, then attaching to the sterilized teats the suction cups at the end of the milk claw, she was in motion constantly, fixed unwaveringly on each stage of the milking but, in exaggerated contrast to their stubborn docility, moving all the time with a beelike adroitness until the milk was streaming through the clear milk tube into the shining stainless-steel pail, and she at last stood quietly by, watching to make certain that everything was working and that the cow too was standing quietly. Then she was again in motion, massaging the udder to be sure the cow was milked out, removing the teat cups, pouring out the feed portion for the cow she would be milking after undoing the milked cow from the stanchion, getting the grain for the next cow in front of the alternate stanchion, and then, within the confines of that smallish space, grabbing the milked cow by the collar again and maneuvering her great bulk around, backing her up with a push, shoving her with a shoulder, bossily telling her, “Get out, get on out of here, just get—” and leading her back through the mud to the shed.

  Faunia Farley: thin-legged, thin-wristed, thin-armed, with clearly discernible ribs and shoulder blades that protruded, and yet when she tensed you saw that her limbs were hard; when she reached or stretched for something you saw that her breasts were surprisingly substantial; and when, because of the flies and the gnats buzzing the herd on this close summer day, she slapped at her neck or her backside, you saw something of how frisky she could be, despite the otherwise straight-up style. You saw that her body was something more than efficiently lean and severe, that she was a firmly made woman precipitously poised at the moment when she is no longer ripening but not yet deteriorating, a woman in the prime of her prime, whose fistful of white hairs is fundamentally beguiling just because the sharp Yankee contour of her cheeks and her jaw and the long unmistakably female neck haven’t yet been subject to the transformations of aging.

  “This is my neighbor,” Coleman said to her when she took a moment to wipe the sweat from her face with the crook of her elbow and to look our way. “This is Nathan.”

  I hadn’t expected composure. I was expecting someone openly angrier. She acknowledged me with no more than a jerk of her chin, but it was a gesture from which she got a lot of mileage. It was a chin from which she got a lot of mileage. Keeping it up as she normally did, it gave her—virility. That was in the response too: something virile and implacable, as well as a little disreputable, in that dead-on look. The look of someone for whom both sex and betrayal are as basic as bread. The look of the runaway and the look that results from the galling monotony of bad luck. Her hair, the golden blond hair in the poignant first stage of its unpreventable permutation, was twisted at the back through an elastic band, but a lock kept falling toward her eyebrow as she worked, and now, while silently looking our way, she pushed it back with her hand, and for the first time I noticed in her face a small feature that, perhaps wrongly, because I was searching for a sign, had the effect of something telling: the convex fullness of the narrow arch of flesh between the ridge of eyebrow and the upper eyelids. She was a thin-lipped woman with a straight nose and clear blue eyes and good teeth and a prominent jaw, and that puff of flesh just beneath her eyebrows was her on
ly exotic marking, the only emblem of allure, something swollen with desire. It also accounted for a lot that was unsettlingly obscure about the hard flatness of her gaze.

  In all, Faunia was not the enticing siren who takes your breath away but a clean-cut-looking woman about whom one thinks, As a child she must have been very beautiful. Which she was: according to Coleman, a golden, beautiful child with a rich stepfather who wouldn’t leave her alone and a spoiled mother who wouldn’t protect her.

  We stood there watching while she milked each of the eleven cows—Daisy, Maggie, Flossie, Bessy, Dolly, Maiden, Sweetheart, Stupid, Emma, Friendly, and Jill—stood there while she went through the same unvarying routine with every one of them, and when that was finished and she moved into the whitewashed room with the big sinks and the hoses and the sterilizing units adjacent to the milking parlor, we watched her through that doorway mixing up the lye solution and the cleansing agents and, after separating the vacuum line from the pipeline and the teat cups from the claw and the two milker pails from their covers—after disassembling the whole of the milking unit that she’d taken in there with her—setting to work with a variety of brushes and with sinkful after sinkful of clear water to scrub every surface of every tube, valve, gasket, plug, plate, liner, cap, disc, and piston until each was spotlessly clean and sanitized. Before Coleman took his milk and we got back into his car to leave, he and I had stood together by the refrigerator for close to an hour and a half and, aside from the words he uttered to introduce me to her, nobody human said anything more. All you could hear was the whirring and the chirping of the barn swallows who nested there as they whished through the rafters where the barn opened out behind us, and the pellets dropping into the cement trough when she shook out the feed pail, and the shuffling clump of the barely lifted hooves on the milking parlor floor as Faunia, shoving and dragging and steering the cows, positioned them into the stanchion, and then the suction noise, the soft deep breathing of the milk pump.