by Alice Munro
I read about that life in the Vidette.
The population is younger than it is now, than it will ever be again. People past fifty usually don’t come to a raw, new place. There are quite a few people in the cemetery already, but most of them died young, in accidents or childbirth or epidemics. It’s youth that’s in evidence in town. Children – boys – rove through the streets in gangs. School is compulsory for only four months a year, and there are lots of occasional jobs that even a child of eight or nine can do – pulling flax, holding horses, delivering groceries, sweeping the boardwalk in front of stores. A good deal of time they spend looking for adventures. One day they follow an old woman, a drunk nicknamed Queen Aggie. They get her into a wheelbarrow and trundle her all over town, then dump her into a ditch to sober her up. They also spend a lot of time around the railway station. They jump on shunting cars and dart between them and dare each other to take chances, which once in a while result in their getting maimed or killed. And they keep an eye out for any strangers coming into town. They follow them, offer to carry their bags, and direct them (for a five-cent piece) to a hotel. Strangers who don’t look so prosperous are taunted and tormented. Speculation surrounds all of them – it’s like a cloud of flies. Are they coming to town to start up a new business, to persuade people to invest in some scheme, to sell cures or gimmicks, to preach on the street corners? All these things are possible any day of the week. Be on your guard, the Vidette tells people. These are times of opportunity and danger. Tramps, confidence men, hucksters, shysters, plain thieves are travelling the roads, and particularly the railroads. Thefts are announced: money invested and never seen again, a pair of trousers taken from the clothesline, wood from the woodpile, eggs from the henhouse. Such incidents increase in the hot weather.
Hot weather brings accidents too. More horses run wild then, upsetting buggies. Hands caught in the wringer while doing the washing, a man lopped in two at the sawmill, a leaping boy killed in a fall of lumber at the lumberyard. Nobody sleeps well. Babies wither with summer complaint, and fat people can’t catch their breath. Bodies must be buried in a hurry. One day a man goes through the streets ringing a cowbell and calling, “Repent! Repent!” It’s not a stranger this time, it’s a young man who works at the butcher shop. Take him home, wrap him in cold wet cloths, give him some nerve medicine, keep him in bed, pray for his wits. If he doesn’t recover, he must go to the asylum.
Almeda Roth’s house faces on Dufferin Street, which is a street of considerable respectability. On this street, merchants, a mill owner, an operator of salt wells have their houses. But Pearl Street, which her back windows overlook and her back gate opens onto, is another story. Workmen’s houses are adjacent to hers. Small but decent row houses – that is all right. Things deteriorate toward the end of the block, and the next, last one becomes dismal. Nobody but the poorest people, the unrespectable and undeserving poor, would live there at the edge of a boghole (drained since then), called the Pearl Street Swamp. Bushy and luxuriant weeds grow there, makeshift shacks have been put up, there are piles of refuse and debris and crowds of runty children, slops are flung from doorways. The town tries to compel these people to build privies, but they would just as soon go in the bushes. If a gang of boys goes down there in search of adventure, it’s likely they’ll get more than they bargained for. It is said that even the town constable won’t go down Pearl Street on a Saturday night. Almeda Roth has never walked past the row housing. In one of those houses lives the young girl Annie, who helps her with her house-cleaning. That young girl herself, being a decent girl, has never walked down to the last block or the swamp. No decent woman ever would.
But that same swamp, lying to the east of Almeda Roth’s house, presents a fine sight at dawn. Almeda sleeps at the back of the house. She keeps to the same bedroom she once shared with her sister Catherine – she would not think of moving to the large front bedroom, where her mother used to lie in bed all day, and which was later the solitary domain of her father. From her window she can see the sun rising, the swamp mist filling with light, the bulky, nearest trees floating against that mist and the trees behind turning transparent. Swamp oaks, soft maples, tamarack, butternut.
III
Here where the river meets the
inland sea,
Spreading her blue skirts from the
solemn wood,
I think of birds and beasts and
vanished men,
Whose pointed dwellings on these
pale sands stood.
One of the strangers who arrived at the railway station a few years ago was Jarvis Poulter, who now occupies the next house to Almeda Roth’s – separated from hers by a vacant lot, which he has bought, on Dufferin Street. The house is plainer than the Roth house and has no fruit trees or flowers planted around it. It is understood that this is a natural result of Jarvis Poulter’s being a widower and living alone. A man may keep his house decent, but he will never – if he is a proper man – do much to decorate it. Marriage forces him to live with more ornament as well as sentiment, and it protects him, also, from the extremities of his own nature – from a frigid parsimony or a luxuriant sloth, from squalor, and from excessive sleeping or reading, drinking, smoking, or freethinking.
In the interests of economy, it is believed, a certain estimable gentleman of our town persists in fetching water from the public tap and supplementing his fuel supply by picking up the loose coal along the railway track. Does he think to repay the town or the railway company with a supply of free salt?
This is the Vidette, full of sly jokes, innuendo, plain accusation that no newspaper would get away with today. It’s Jarvis Poulter they’re talking about – though in other passages he is spoken of with great respect, as a civil magistrate, an employer, a churchman. He is close, that’s all. An eccentric, to a degree. All of which may be a result of his single condition, his widower’s life. Even carrying his water from the town tap and filling his coal pail along the railway track. This is a decent citizen, prosperous: a tall – slightly paunchy? – man in a dark suit with polished boots. A beard? Black hair streaked with gray. A severe and self-possessed air, and a large pale wart among the bushy hairs of one eyebrow? People talk about a young, pretty, beloved wife, dead in childbirth or some horrible accident, like a house fire or a railway disaster. There is no ground for this, but it adds interest. All he has told them is that his wife is dead.
He came to this part of the country looking for oil. The first oil well in the world was sunk in Lambton County, south of here, in the 1850s. Drilling for oil, Jarvis Poulter discovered salt. He set to work to make the most of that. When he walks home from church with Almeda Roth, he tells her about his salt wells. They are twelve hundred feet deep. Heated water is pumped down into them, and that dissolves the salt. Then the brine is pumped to the surface. It is poured into great evaporator pans over slow, steady fires, so that the water is steamed off and the pure, excellent salt remains. A commodity for which the demand will never fail.
“The salt of the earth,” Almeda says.
“Yes,” he says, frowning. He may think this disrespectful. She did not intend it so. He speaks of competitors in other towns who are following his lead and trying to hog the market. Fortunately, their wells are not drilled so deep, or their evaporating is not done so efficiently. There is salt everywhere under this land, but it is not so easy to come by as some people think.
Does this not mean, Almeda says, that there was once a great sea?
Very likely, Jarvis Poulter says. Very likely. He goes on to tell her about other enterprises of his – a brickyard, a lime-kiln. And he explains to her how this operates, and where the good clay is found. He also owns two farms, whose woodlots supply the fuel for his operations.
Among the couples strolling home from church on a recent, sunny Sabbath morning we noted a certain salty gentleman and literary lady, not perhaps in their first youth but by no means blighted by the frosts of age. May we surmise?
; This kind of thing pops up in the Vidette all the time.
May they surmise, and is this courting? Almeda Roth has a bit of money, which her father left her, and she has her house. She is not too old to have a couple of children. She is a good enough housekeeper, with the tendency toward fancy iced cakes and decorated tarts that is seen fairly often in old maids. (Honorable mention at the Fall Fair.) There is nothing wrong with her looks, and naturally she is in better shape than most married women of her age, not having been loaded down with work and children. But why was she passed over in her earlier, more marriageable years, in a place that needs women to be partnered and fruitful? She was a rather gloomy girl – that may have been the trouble. The deaths of her brother and sister, and then of her mother, who lost her reason, in fact, a year before she died, and lay in her bed talking nonsense – those weighed on her, so she was not lively company. And all that reading and poetry – it seemed more of a drawback, a barrier, an obsession, in the young girl than in the middle-aged woman, who needed something, after all, to fill her time. Anyway, it’s five years since her book was published, so perhaps she has got over that. Perhaps it was the proud, bookish father encouraging her?
Everyone takes it for granted that Almeda Roth is thinking of Jarvis Poulter as a husband and would say yes if he asked her. And she is thinking of him. She doesn’t want to get her hopes up too much, she doesn’t want to make a fool of herself. She would like a signal. If he attended church on Sunday evenings, there would be a chance, during some months of the year, to walk home after dark. He would carry a lantern. (There is as yet no street lighting in town.) He would swing the lantern to light the way in front of the lady’s feet and observe their narrow and delicate shape. He might catch her arm as they step off the boardwalk. But he does not go to church at night.
Nor does he call for her, and walk with her to church on Sunday mornings. That would be a declaration. He walks her home, past his gate as far as hers; he lifts his hat then and leaves her. She does not invite him to come in – a woman living alone could never do such a thing. As soon as a man and woman of almost any age are alone together within four walls, it is assumed that anything may happen. Spontaneous combustion,instant fornication, an attack of passion. Brute instinct, triumph of the senses. What possibilities men and women must see in each other to infer such dangers. Or, believing in the dangers, how often they must think about the possibilities.
When they walk side by side, she can smell his shaving soap, the barber’s oil, his pipe tobacco, the wool and linen and leather smell of his manly clothes. The correct, orderly, heavy clothes are like those she used to brush and starch and iron for her father. She misses that job – her father’s appreciation, his dark, kind authority. Jarvis Poulter’s garments, his smell, his movements all cause the skin on the side of her body next to him to tingle hopefully, and a meek shiver raises the hairs on her arms. Is this to be taken as a sign of love? She thinks of him coming into her – their – bedroom in his long underwear and his hat. She knows this outfit is ridiculous, but in her mind he does not look so; he has the solemn effrontery of a figure in a dream. He comes into the room and lies down on the bed beside her, preparing to take her in his arms. Surely he removes his hat? She doesn’t know, for at this point a fit of welcome and submission overtakes her, a buried gasp. He would be her husband.
One thing she has noticed about married women, and that is how many of them have to go about creating their husbands. They have to start ascribing preferences, opinions, dictatorial ways. Oh, yes, they say, my husband is very particular. He won’t touch turnips. He won’t eat fried meat. (Or he will only eat fried meat.) He likes me to wear blue (brown) all the time. He can’t stand organ music. He hates to see a woman go out bareheaded. He would kill me if I took one puff of tobacco. This way, bewildered, sidelong-looking men are made over, made into husbands, heads of households. Almeda Roth cannot imagine herself doing that. She wants a man who doesn’t have to be made, who is firm already and determined and mysterious to her. She does not look for companionship. Men – except for her father – seem to her deprived in some way, incurious. No doubt that is necessary, so that they will do what they have to do. Would she herself, knowing that there was salt in the earth, discover how to get it out and sell it? Not likely. She would be thinking about the ancient sea. That kind of speculation is what Jarvis Poulter has, quite properly, no time for.
Instead of calling for her and walking her to church, Jarvis Poulter might make another, more venturesome declaration. He could hire a horse and take her for a drive out to the country. If he did this, she would be both glad and sorry. Glad to be beside him, driven by him, receiving this attention from him in front of the world. And sorry to have the countryside removed for her – filmed over, in a way, by his talk and preoccupations. The countryside that she has written about in her poems actually takes diligence and determination to see. Some things must be disregarded. Manure piles, of course, and boggy fields full of high, charred stumps, and great heaps of brush waiting for a good day for burning. The meandering creeks have been straightened, turned into ditches with high, muddy banks. Some of the crop fields and pasture fields are fenced with big, clumsy uprooted stumps; others are held in a crude stitchery of rail fences. The trees have all been cleared back to the woodlots. And the woodlots are all second growth. No trees along the roads or lanes or around the farmhouses, except a few that are newly planted, young and weedy-looking. Clusters of log barns – the grand barns that are to dominate the countryside for the next hundred years are just beginning to be built – and mean-looking log houses, and every four or five miles a ragged little settlement with a church and school and store and a blacksmith shop. A raw countryside just wrenched from the forest, but swarming with people. Every hundred acres is a farm, every farm has a family, most families have ten or twelve children. (This is the country that will send out wave after wave of settlers – it’s already starting to send them – to Northern Ontario and the West.) It’s true that you can gather wildflowers in spring in the woodlots, but you’d have to walk through herds of horned cows to get to them.
IV
The Gypsies have departed.
Their camping-ground is bare.
Oh, boldly would I bargain now
At the Gypsy Fair.
Almeda suffers a good deal from sleeplessness, and the doctor has given her bromides and nerve medicine. She takes the bromides, but the drops gave her dreams that were too vivid and disturbing, so she has put the bottle by for an emergency. She told the doctor her eyeballs felt dry, like hot glass, and her joints ached. Don’t read so much, he said, don’t study; get yourself good and tired out with housework, take exercise. He believes that her troubles would clear up if she got married. He believes this in spite of the fact that most of his nerve medicine is prescribed for married women.
So Almeda cleans house and helps clean the church, she lends a hand to friends who are wallpapering or getting ready for a wedding, she bakes one of her famous cakes for the Sunday-school picnic. On a hot Saturday in August, she decides to make some grape jelly. Little jars of grape jelly will make fine Christmas presents, or offerings to the sick. But she started late in the day and the jelly is not made by nightfall. In fact, the hot pulp has just been dumped into the cheesecloth bag to strain out the juice. Almeda drinks some tea and eats a slice of cake with butter (a childish indulgence of hers), and that’s all she wants for supper. She washes her hair at the sink and sponges off her body to be clean for Sunday. She doesn’t light a lamp. She lies down on the bed with the window wide open and a sheet just up to her waist, and she does feel wonderfully tired. She can even feel a little breeze.
When she wakes up, the night seems fiery hot and full of threats. She lies sweating on her bed, and she has the impression that the noises she hears are knives and saws and axes – all angry implements chopping and jabbing and boring within her head. But it isn’t true. As she comes further awake, she recognizes the sounds that she has heard someti
mes before – the fracas of a summer Saturday night on Pearl Street. Usually the noise centers on a fight. People are drunk, there is a lot of protest and encouragement concerning the fight, somebody will scream, “Murder!” Once, there was a murder. But it didn’t happen in a fight. An old man was stabbed to death in his shack, perhaps for a few dollars he kept in the mattress.
She gets out of bed and goes to the window. The night sky is clear, with no moon and with bright stars. Pegasus hangs straight ahead, over the swamp. Her father taught her that constellation – automatically, she counts its stars. Now she can make out distinct voices, individual contributions to the row. Some people, like herself, have evidently been wakened from sleep. “Shut up!” they are yelling. “Shut up that caterwauling or I’m going to come down and tan the arse off yez!”
