In the meantime he made certain, after his early afternoon walks with Emmeline in the underground park, to continue his rounds. Each day he visited one or another of the Vacation Retreats on the fifth and sixth underground levels, questioning guests closely and introducing small improvements, such as maps posted on signboards along the trails of the national park. But his special pleasure was to walk along the brightly lit aisles of all three levels of his well-stocked department store and to follow closely every phase of its operation. He and Rudolf Arling had introduced into the store a number of striking features that Martin hoped would attract customers: shiny glass display cases instead of the oak counters of the old Shopping Arcade, colored lights to create dramatic moods, elaborately designed bowers and grottoes in which fashionable dresses were displayed on wax mannequins, and two electrically operated moving aisles that passed down the center of each block-long level in order to spare customers the exertion of crossing the store. The vistas of glass, the red and blue lights, the beautiful frozen mannequins, the shimmer and glitter of a world behind glass—a world that seemed to reveal itself completely while at the same time it remained tantalizingly out of reach—all this created a seductiveness, a sense of mystery, that reminded Martin of his walks with his mother past the display windows of the big Broadway stores. Unlike the other levels, which were reserved for guests, the three levels of the department store were open to the public, who were admitted through side-street entrances that led to stairways. Harwinton was conducting a separate ad campaign for the store, which he called “Uptown’s Downtown”; despite its out-of-the-way location, the department store of the New Dressler was attracting crowds of the curious, who usually returned.
In order to satisfy requests for tours of the New Dressler from journalists, prospective long-term residents, and curiosity seekers, Martin organized a staff of female guides in green uniforms with red trim. He himself liked to take people around from time to time, beginning with the roof garden and the seventh underground level, as if to draw a line around his creation. Ascending first to the roof of the New Dressler with its lush landscape of woods and streams, its cave-restaurant set in the side of a wooded hill, its peacocks and tame deer, its water tank and elevator bulkhead cleverly disguised as rustic cottages, he would descend suddenly and dramatically to the labyrinth on the seventh underground level. The labyrinth was a series of winding passages designed to meet the hotel guest’s need for solitude and mystery, where one could wander for hours along dim-lit subterranean paths leading in and out of small rocky chambers supplied with benches. Black streams flowed here and there, a waterfall trickled down a sheer wall, and a number of surprises had been arranged: a narrow opening led to a library with reading lamps and couches, a winding passage went past a replicated Hindu temple, and around one bend appeared a black lake with an island, on which stood a small teahouse reachable by rowboat.
Beneath the labyrinth lay the true bottom of the New Dressler, the bottom beneath the bottom: the basement. It was a dark realm with many subdivisions, including the electric plant with its dynamos, the steam plant with its boilers, the laundry rooms with their boiling tubs and steam dryers, the ironing rooms, the storage rooms, the employee cafeteria, and the workshops for the large maintenance staff of the New Dressler: the painters, the electricians, the seamstresses, the upholsterers, the silver polishers, the carpenters. In the vast underground world of half-darkness and hissing steam, of hammer-knocks and the rumble of dynamos, Martin liked to walk for hours at a time, observing the machines that gave life to the building, watching the work of the repairmen, speaking with the laundresses, their sleeves rolled to the elbow, their forearms glistening, their faces shiny in the damp warm air.
At the end of the day, Martin walked back with Emmeline to meet Caroline and Margaret for dinner at the old Dressler. After dinner all four would take a turn in the underground courtyard, whereupon Caroline, growing tired, would retire to her rooms, and Martin would return to the New Dressler to speak with the night manager and continue his rounds.
Even as he walked through the world of the New Dressler, observing its operation, hovering, brooding over what he had built, Martin had begun to notice an alcove, a secret shadowy alcove, deep in his mind. Here images were slowly taking shape, and one day he met again with Rudolf Arling, in the small office with its view of the Brooklyn tower of the great bridge. Arling listened with interest to Martin’s new idea, which kept assuming slightly different shapes, but the preliminary sketches disappointed Martin: Arling, for all his boldness, was still dreaming of a grand hotel, whereas Martin was trying to make him see something quite different. Then one day Arling simply made a leap, it was as if he had put the old way behind him forever, and now the sketches took on a startling quality, as if Martin were seeing his dream harden into shape before him. And Arling had good news. A recent commission of his, an apartment house with an all-too-familiar Beaux Arts exterior and a barrel-vault porte cochère that led to an interior courtyard, had received such favorable attention in the architectural press that he was suddenly in great demand, a fact that would serve Martin well when he approached the cautious Lellyveld. Martin reported his meetings with the architect to Emmeline after lunch as they walked on secluded paths in the subterranean park of the New Dressler, but Emmeline, who listened thoughtfully, showed signs of distraction. She confessed one afternoon that she was concerned about Caroline, whose behavior had recently taken a disturbing turn.
Caroline’s Way
FOR CAROLINE HAD BEGUN TO WITHDRAW FOR many hours to the sofa in her mother’s parlor, where she lay with an arm thrown over her eyes. This in itself was no special cause for concern, since Caroline had often withdrawn to the family sofa, had in a sense made a career of such withdrawals, while everyone hovered about anxiously and waited for her to return to normal—although in Caroline’s case it might be argued that the normal was precisely this withdrawal to the family sofa. No, what Emmeline found disturbing was Caroline’s reluctance to return to her own bed at night. Margaret practically had to drag her out the door. It was a strain on poor Margaret, who worried continually about the welfare of her daughters, and especially of Caroline, who needed something to occupy her time but who unfortunately had no strong interests. During the reign of Claire Moore, Emmeline had encouraged Caroline’s sudden attraction to the theater, unreasonably hoping that it would survive Claire Moore’s departure. Even as a girl Caroline had had the habit of starting books and never finishing them, losing interest after the first couple of chapters, sometimes reading right up to the last chapter and then abandoning the book forever. It used to upset Emmeline terribly, all those unfinished stories lying around, like dolls with missing arms. And so in time she had come to think that Caroline’s illnesses were her discovery of a way to occupy her time, although this perhaps sounded harsher than she meant it to be. She had thought that marriage—well, she had given her opinion at the time. And now Caroline was reluctant to leave her mother’s parlor at all, she had even hinted that she would like to sleep on the sofa at night.
“Then let her do it,” Martin said irritably. “For a night or two. If you think it will help.”
Emmeline was uncertain, but said that she would discuss it with her mother that very night. The next morning as they walked up Riverside to the New Dressler, Emmeline reported that perhaps it wouldn’t be such a bad thing after all for Caroline to sleep on the sofa, for just a few nights, since it was something she seemed determined to do.
It was quickly arranged. Martin, who at first had been annoyed by yet another of Caroline’s whims, found the new plan oddly agreeable. He no longer had to creep quietly into bed at night, for fear of waking Caroline and giving her a headache, or tiptoe about in the dark of early morning. And Caroline’s absence from the apartment gave his rooms an airiness, a lightness, as if some faint disturbance in the atmosphere had cleared. But more than this, he liked the sense that the three Vernon women were together again, as if by marrying one of them he
had somehow harmed the group. After dinner, walking with Caroline and Emmeline and Margaret in the underground courtyard of the Dressler, he was reminded of earlier days, when he had returned to the Bellingham and seen the three Vernon women waiting for him at the lamplit table in the parlor off the main lobby. And glancing at Caroline, who still wore her pale hair pulled back tight, so that it seemed to be tugging painfully against the skin of her temples, he felt an odd tenderness toward her, for restoring things to their original shape.
“She says she’s worried about you,” Emmeline said a few nights later.
Martin laughed. “Worried about me. I like that.”
“I don’t like it.”
“That she’s worried about me?”
“That she’s worried about you from her sofa. She wants me to look in on you. To make sure you’re all right.”
“Assure her I’m fine.”
“She’s up to something,” Emmeline said.
One night about a week later Martin was sitting in his armchair in his apartment at the Dressler, looking over a sketch that Arling had given him, when there was a knock at the door. It was after eleven o’clock. Martin quickly buttoned his vest, pulled on his suit jacket, and opened the door just as he noticed irritably that he was wearing slippers.
“May I come in?” Emmeline said. “You look angry.”
“Come in, I’m angry at my slippers.” He shut the door. “There’s something wrong?” He had said good night to her an hour ago.
“Not exactly,” Emmeline said.
Seated on the sofa facing the armchair, she explained that Caroline had insisted she come. Caroline was worried about Martin, alone in the apartment; she wanted to be assured that he was all right.
“I’m deeply touched by her concern,” Martin said.
“I wish you wouldn’t sound like that. This is serious.”
“You humor her too much. You and your mother.”
“I’ll tell her you’re fine,” Emmeline said irritably, getting up to go.
But the next night she appeared again, looking so mortified and defiant and troubled and exhausted that Martin said, “Look, why don’t you just sit a while. I’ll boil you up a cup of tea, and then you can go back. Tell Caroline I’m fine. What harm will it do?”
“Oh, I don’t like it,” Emmeline said, sitting down and closing her eyes but immediately forcing them open.
After that he began to listen for Emmeline’s knock, night after night, not long after eleven o’clock. The visits no longer seemed in any way irregular, but became part of the familiar order of his day. Caroline’s behavior was bizarre, but Caroline’s behavior had always been bizarre, and this recent turn had many pleasant advantages; he and Emmeline could talk, for instance, which was surely a good thing. For he wanted to speak to Emmeline, not about Caroline, but about his always growing plan for the new building. Emmeline listened carefully, but he could see that she was tired and distracted, her days after all were long, her nights with Caroline a continual strain. He could see the strain, printed in two lines between her thick eyebrows: Caroline’s lines.
One night she reported that she had found Caroline asleep in her bed, the night before. Emmeline had slept on the sofa.
“It’s got to stop, you know,” Martin said. “You’re just making it worse by giving in.”
“She’s trying to replace me,” Emmeline said wearily.
A moment later she said, “This is wrong. It’s very wrong, all of it, and I don’t know what to do about it.”
“You can do something about it. Say no to Caroline.”
“I’ve never been able to say no to Caroline,” Emmeline said.
Two nights later Emmeline reported with a kind of melancholy exasperation that things had really gone too far this time. For Caroline had suggested, had asked outright, really, that Emmeline move into her apartment, to assure that Martin was all right.
“It’s all wrong,” she said wearily. “It’s gone too far.”
Martin stood up. “It’s gone far enough. I’ll step over and have a few words with Caroline.”
But Emmeline begged him not to. She wouldn’t obey the grotesque suggestion, of course. But she knew Caroline, knew when she was up to something, and preferred to let things take their course. Emmeline sat with one elbow on her knee and her chin on her raised hand, frowning in thought so that her eyebrows touched. Caroline, she said, was somehow trying to replace her: to become Emmeline. Not that she really wanted to become Emmeline—but by moving into Emmeline’s apartment, by suggesting that Emmeline move into hers, she was attempting to accomplish a reversal. Perhaps it was more accurate to say that in some sense she was trying not to be Caroline. And this was a good thing, up to a point, for wasn’t it Caroline’s attempt to overcome some obstacle in herself, to leave the old Caroline behind and become new? But if it was good, in this sense, it was good only up to a point, beyond which the wrongness began; for really the whole business was some kind of magic trick. And beyond that she could feel something else at work, some obscure desire working itself out in Caroline, something she didn’t like at all, for of course there were three people, not just two, and it was as if—she could just barely seem to see it—it was as if Caroline were attempting to undo her marriage and say that she—that Emmeline—but it was precisely here that she could only grope her way.
The next night she pursued it. It did appear that Caroline, having withdrawn into Emmeline’s apartment, was offering Emmeline as a—well, as a wife. This bizarre act, looked at in one way, was an act of generosity. The flaw here was that Caroline was not given to acts of generosity. There was therefore some other motive at work, something that eluded Emmeline; and closing her eyes, she leaned back against the sofa, so that Martin saw very clearly, between her dark eyebrows, the two Caroline-lines, one slightly longer than the other. Martin saw something else: the completed direction of Emmeline’s thought. For if Emmeline was correct in her analysis, then it was clear that Caroline was offering Martin a substitute in the marriage bed—that she was presenting Emmeline as a sexual emissary. And an irritation came over Martin, at Emmeline’s failure to pursue her own thought to its deepest implication, along with gratitude for being spared that unthinkable discussion. But Emmeline was correct about one thing: Caroline was not generous. Why then would she practically thrust her sister into her own marriage bed? And was it possible that the lines of strain between Emmeline’s thick eyebrows were the sign of her secret knowledge, a knowledge she dared not confess to herself?
A night came when there was a second knock on the door. Martin looked at Emmeline, who looked at him anxiously from the sofa across from his chair, but even as he crossed to the door he knew who it had to be. Caroline was wearing a dark dress he had not seen before. She waited to be invited in and then walked in swiftly. Her hair was pulled back tightly from her face but a few tendrils had escaped at the back. Over one arm she carried a shawl. Martin closed the door and walked over to her, where she stood beside his chair.
“Sit down, Caroline. You look tired.”
Caroline ignored him and stood looking at Emmeline, on the sofa, who looked back at her. It seemed to Martin that the two sisters were unable to move, that a spell had been cast, a spell as in an old fairy tale—he tried to remember which one it was. Or did all fairy tales have spells? But within the motionlessness something was growing, something was swelling, Martin could feel it, and turning to Caroline he was struck by a faint glow on her cheek, so that the thought came to him that she looked marvelously healthy, as if lying on the sofa with her arm over her eyes had filled her with health, though an instant later it occurred to him that she was sick, that she really ought to be in bed. But it was Emmeline who looked worn and anxious, there on the couch, while Caroline glowed down at her from beside the chair. It struck him that she looked like a heroine on the stage. And immediately he sensed with his skin what was going to happen, what was bound to happen, what could never happen but was about to happen, it was all nonsense
and yet he would have to do something about it, he would have to act fast, very fast, and he tried desperately to struggle out of the spell, as one might struggle up from deep water, while from beneath the shawl Caroline removed a gun, a foolish awkward gun, and with her face aflame, the face of a heroine, she pointed it at Emmeline, who remained motionless but drew her eyebrows together as if in pain. Then a dream-shot rang out, and Martin, still struggling out of the fairy-tale spell, saw high up on the far wall a piece of plaster trickling down, while Emmeline sprang up as if startled from sleep, and Caroline, who had fainted away at the loud sound, fell slowly to the rug, where Emmeline was already kneeling, calling quietly for a damp cloth.
The Grand Cosmo
MARTIN SAT IN A CORNER OF THE ROOF GARDEN of the New Dressler, in a gazebo striped with sun and shade, and raised to his eyes a pair of Jena field glasses. He had ordered the glasses from a German optical company, which advertised a finish of bright black enamel on all metal parts, high-power achromatic lenses ground from special optical glass manufactured in the Jena glass factory, and a covering of fine-grade morocco leather. Through the high-power lenses he directed his gaze eight blocks north toward a group of workmen who were standing near a heavy mat draped over a group of boulders in a deep excavation. They were blasting deeper, day after day, far down, for the new building was to have twelve underground levels and a basement; the consulting engineers had said it could be done. Aboveground the building would rise thirty stories, surpassing the New Dressler not merely in size but in every other way, for Martin had leaped beyond the idea of a hotel to something quite new. The leap had been greeted coldly by Lellyveld, who had refused to support the project unless Martin agreed to grant Lellyveld and White a forty percent interest in the building and the power to appoint the head of accounting—a deal strongly opposed by Rudolf Arling on the ground that Lellyveld wanted to gain control of the Cosmosarium and infect it with his mediocrity. Martin accepted Lellyveld’s offer instantly.
Martin Dressler: The Tale of an American Dreamer Page 19
