by Alfred Kazin
Afterwards we went into the "dining room" and, since we were not particularly orthodox, allowed ourselves little pleasures outside the Sabbath rule—an occasional game of Casino at the dining-room table where we never dined; and listening to the victrola. The evening was particularly good for me whenever the unmarried cousin who boarded with us had her two closest friends in after supper.
They were all dressmakers, like my mother; had worked with my mother in the same East Side sweatshops; were all passionately loyal members of the International Ladies Garment Workers Union; and were all unmarried. We were their only family. Despite my mother's frenzied matchmaking, she had never succeeded in pinning a husband down for any of them. As she said, they were all too particular— what a calamity for a Jewish woman to remain unmarried! But my cousin and her friends accepted their fate calmly, and prided themselves on their culture and their strong progressive interests. They felt they belonged not to the "kitchen world," like my mother, but to the enlightened tradition of the old Russian intelligentsia. Whenever my mother sighed over them, they would smile out of their greater knowledge of the world, and looking at me with a pointed appeal for recognition, would speak of novels they had read in Yiddish and Russian, of Wines-burg, Ohio, of some article in the Nation.
Our cousin and her two friends were of my parents' generation, but I could never believe it—they seemed to enjoy life with such outspokenness. They were the first grown-up people I had ever met who used the word love without embarrassment. "Libbe! Libbe!" my mother would explode whenever one of them protested that she could not, after all, marry a man she did not love. "What is this love you make such a stew about? You do not like the way he holds his cigarette? Marry him first and it will all come out right in the end!" It astonished me to realize there was a world in which even unmarried women no longer young were simply individual human beings with lives of their own. Our parents, whatever affection might offhandedly be expressed between them, always had the look of being committed to something deeper than mere love. Their marriages were neither happy nor unhappy; they were arrangements. However they had met—whether in Russia or in the steerage or, like my parents, in an East Side boarding house—whatever they still thought of each other, love was not a word they used easily. Marriage was an institution people entered into—for all I could ever tell—only from immigrant loneliness, a need to be with one's own kind that mechanically resulted in the family. The family was a whole greater than all the individuals who made it up, yet made sense only in their untiring solidarity. I was perfectly sure that in my parents' minds libbe was something exotic and not wholly legitimate, reserved for "educated" people like their children, who were the sole end of their existence. My father and mother worked in a rage to put us above their level; they had married to make us possible. We were the only conceivable end to all their striving; we were their America.
So far as I knew, love was not an element admissible in my parents' experience. Any open talk of it between themselves would have seemed ridiculous. It would have suggested a wicked self-indulgence, a preposterous attention to one's own feelings, possible only to those who were free enough to choose. They did not consider themselves free. They were awed by us, as they were awed by their own imagined unworthiness, and looked on themselves only as instruments toward the ideal "American" future that would be lived by their children. As poor immigrants who had remained in Brownsville, painfully conscious of the alrightniks on Eastern Parkway—oh, those successes of whom I was always hearing so much, and whom we admired despite all our socialism!—everything in their lives combined to make them look down on love as something they had no time for. Of course there was a deep resentment in this, and when on those Friday evenings our cousin or her two friends openly mentioned the unheard-of collapse of someone's marriage—
"Sórelle and Berke? I don't believe it."
"But it's true."
"You must be joking!"
"No, it's true!"
"You're joking! You're joking!"
"No, it's true!"
—I noticed that my parents' talk had an unnaturally hard edge to it, as if those who gave themselves up to love must inevitably come to grief. Love, they could have said, was not serious. Life was a battle to "make sure"; it had no place, as we had no time, for whims.
Love, in fact, was something for the movies, which my parents enjoyed, but a little ashamedly. They were the land of the impossible. On those few occasions when my mother closed her sewing machine in the evening and allowed herself a visit to the Supreme, or the Palace, or the Premier, she would return, her eyes gleaming with wonder and some distrust at the strangeness of it all, to report on erotic fanatics who were, thank God, like no one we knew. What heedlessness! What daring! What riches! To my mother riches alone were the gateway to romance, for only those who had money enough could afford the freedom, and the crazy boldness, to give themselves up to love.
Yet there they were in our own dining room, our cousin and her two friends—women, grown-up women—talking openly of the look on Garbo's face when John Gilbert took her in his arms, serenely disposing of each new khayimyankel, poor wretch, my mother had picked for them, and arguing my father down on small points of Socialist doctrine. As they sat around the cut-glass bowl on the table—cracking walnuts, expertly peeling the skin off an apple in long even strips, cozily sipping at a glass of tea—they crossed their legs in comfort and gave off a deliciously musky fragrance of face powder that instantly framed them for me in all their dark coloring, brilliantly white teeth, and the rosy Russian blouses that swelled and rippled in terraces of embroidery over their opulent breasts.
They had a great flavor for me, those three women: they were the positive center of that togetherness that always meant so much to me in our dining room on Friday evenings. It was a quality that seemed to start in the prickly thickness of the cut-glass bowl laden with nuts and fruits; in the light from the long black-shaded lamp hanging over the table as it shimmered against the thick surfaces of the bowl and softened that room where the lace curtains were drawn against the dark and empty streets—and then found its unexpectedly tender voice in the Yiddish folksongs and Socialist hymns they taught me—"Let's Now Forgive Each Other"; "Tsuzamen, Tsuzamen, All Together, Brothers!" Those Friday evenings, I suddenly found myself enveloped in some old, primary Socialist idea that men could go beyond every barrier of race and nation and language, even of class! into some potential loving union of the whole human race. I was suddenly glad to be a Jew, as these women were Jews—simply and naturally glad of those Jewish dressmakers who spoke with enthusiastic familiarity of Sholem Aleichem and Peretz, Gorky and Tolstoy, who glowed at every reminiscence of Nijinsky, of Nazimova in The Cherry Orchard, of Pavlova in "The Swan."
Often, those Friday evenings, they spoke of der heym, "Home," and then it was hard for me. Heym was a terrible word. I saw millions of Jews lying dead under the Polish eagle with knives in their throats. I was afraid with my mother's fears, thought I should weep when she wept, lived again through every pogrom whose terrors she chanted. I associated with that old European life only pain, mud, and hopelessness, but I was of it still, through her. Whenever she would call through the roll of her many brothers and sisters and their children, remembering at each name that this one was dead, that one dead, another starving and sure soon to die—who knew how they were living these days in that miserable Poland?—I felt there was some supernatural Polish eagle across the sea whose face I should never see, but which sent out dark electrical rays to hold me fast.
In many ways der heym was entirely dim and abstract, nothing to do with me at all, alien as the skullcap and beard and frock coat of my mother's father, whom I never saw, but whose calm orthodox dignity stared up at me from an old cracked photograph at the bottom of the bureau drawer. Yet I lived each of my mother's fears from Dugschitz to Hamburg to London to Hester Street to Brownsville through and through with such fidelity that there were times when I wished I had made that journey too, wished
I could have seen Czarist Russia, since I had in any event to suffer it all over again. I often felt odd twinges of jealousy because my parents could talk about that more intense, somehow less experimental life than ours with so many private smiles between themselves. It was bewildering, it made me long constantly to get at some past nearer my own New York life, my having to live with all those running wounds of a world I had never seen.
Then, under cover of the talk those Friday evenings, I would take up The Boy's Life of Theodore Roosevelt again, and moodily call out to those strangers on the summer veranda in Oyster Bay until my father spoke his tale of arriving in America. That was hard, too, painful in another way—yet it always made him curiously lighthearted and left me swimming in space. For he had gone off painting box cars on the Union Pacific, had been as far west as Omaha, had actually seen Sidney Hillman toiling in Hart, Schaffner and Marx's Chicago factory, had heard his beloved Debs making fools of Bryan and Taft in the 1908 campaign, had been offered a homestead in Colorado! Omaha was the most beautiful word I had ever heard, homestead almost as beautiful; but I could never forgive him for not having accepted that homestead.
"What would I have done there? I'm no farmer."
"You should have taken it! Why do we always live here!"
"It would have been too lonely. Nobody I knew."
"What a chance!"
"Don't be childish. Nobody I knew."
"Why? Why?"
"Alfred, what do you want of us poor Jews?"
So it was: we had always to be together: believers and non-believers, we were a people; I was of that people. Unthinkable to go one's own way, to doubt or to escape the fact that I was a Jew. I had heard of Jews who pretended they were not, but could not understand them. We had all of us lived together so long that we would not have known how to separate even if we had wanted to. The most terrible word was aleyn, alone. I always had the same picture of a man desolately walking down a dark street, newspapers and cigarette butts contemptuously flying in his face as he tasted in the dusty grit the full measure of his strangeness. Aleyn! Aleyn! My father had been alone here in America as a boy. His father, whose name I bore, had died here at twenty-five of pneumonia caught on a garment workers' picket line, and his body flung in with thousands of other Jews who had perished those first years on the East Side. My father had never been able to find his father's grave. Aleyn! Aleyn! Did immigrant Jews, then, marry only out of loneliness? Was even Socialism just a happier way of keeping us together?
I trusted it to do that. Socialism would be one long Friday evening around the samovar and the cut-glass bowl laden with nuts and fruits, all of us singing Tsuzamen, tsuzamen, ale tsuzamen! Then the heroes of the Russian novel—our kind of people—would walk the world, and I—still wearing a circle-necked Russian blouse "4 la Tolstoy"— would live forever with those I loved in that beautiful Russian country of the mind. Listening to our cousin and her two friends I, who had never seen it, who associated with it nothing but the names of great writers and my father's saying as we went through the Brooklyn Botanic Garden—"Nice! but you should have seen the Czar's summer palace at Tsarskoye-Selo!"—suddenly saw Russia as the grand antithesis to all bourgeois ideals, the spiritual home of all truly free people. I was perfectly sure that there was no literature in the world like the Russian; that the only warm hearts in the world were Russian, like our cousin and her two friends; that other people were always dully materialist, but that the Russian soul, like Nijinsky's dream of pure flight, would always leap outward, past all barriers, to a lyric world in which my ideal socialism and the fiery moodiness of Tchaikovsky's Pathétique would be entirely at home with each other. Tsuzamen, alle tsuzamen! How many millions would be with us! China was in our house those Friday evenings, Africa, the Indian masses. And it was those three unmarried dressmakers from the rank and file who fully wrapped me in that spell, with the worldly clang of their agate beads and the musky fragrance of their face powder and their embroidered Russian blouses, with the great names of Russian writers ringing against the cut-glass bowl under the black lamp. Never did the bowl look so laden, never did apples and tea smell so good, never did the samovar pour out with such steaming bounty, as on those Friday evenings when I tasted in the tea and the talk the evangelical heart of our cousin and her two friends, and realized that it was we—we!—who would someday put the world on its noblest course.
"Kinder, kinder," my mother would say. "Enough discusye. Maybe now a little music? Alfred, play Scheherazade!"
You could melt their hearts with it; the effect of the violin on almost everyone I knew was uncanny. I could watch them softening, easing, already on the brink of tears—yet with their hands at rest in their laps, they stared straight ahead at the wall, breathing hard, an unforeseen smile of rapture on their mouths. Any slow movement, if only it were played lingeringly and sagely enough, seemed to come to them as a reminiscence of a reminiscence. It seemed to have something to do with our being Jews. The depths of Jewish memory the violin could throw open apparently had no limit—for every slow movement was based on something "Russian," every plaintive melody even in Beethoven or Mozart was "Jewish." I could skip from composer to composer, from theme to theme, without any fear, ever, of being detected, for all slow movements fell into a single chant of der heym and of the great Kol Nidre sung in the first evening hours of the Day of Atonement, in whose long rending cry—of contrition? of grief? of hopeless love for the Creator?—I relived all of the Jews' bitter intimacy with death.
Then I cranked up the old brown Victor, took our favorite records out of the red velvet pleated compartments, and we listened to John McCormack singing Ave Maria, Amelita Galli-Curci singing Caro Nome ("How ugly she is!" my parents would say wonderingly. "Have you seen her picture? Incredible! But how she sings!"), and Alma Gluck singing Comin' Thro' the Rye. The high point was Caruso singing from La Juive. He inspired in my father and mother such helpless, intimidated adoration that I came to think of what was always humbly referred to as his golden voice as the invocation of a god. The pleasure he gave us was beyond all music. When Mischa Elman played some well-known melody we sighed familiarly at each other—his tone was so warm; he bubbled slowly in my ears like the sound of chicken fat crackling in the pan. But Caruso, "that Italyéner," seemed to me the echo of some outrageously pagan voice at the roof of the world. While I pushed at the hand-crank and the wheezy sounds of the orchestra in the background came to me as the whispered turnings, sighs and alarms of the crowd around the circus pit, there on high, and rising higher and higher with each note, that voice, that golden voice, leaped its way from one trapeze to another. We sat hunched in our wonder, our adoration, our fear. Would he make it? Could any human being find that last impossible rung?
Rachel! Quand, du Seigneur la grâce tutélaire....
Then, suddenly bounding back to earth again, there he was before us again, secretly smiling, the tones welling out of him with such brazen strength, such irresistible energy, that he left us gasping. I could see him standing inside the victrola box—a centaur just out of the woods, not quite human, with that enigmatic, almost contemptuous smile on his face. "What a voice!" my father would say over and over, deeply shaken. "What a voice! It's not human! Never was there a voice like it! Only the other day I was reading that when they opened him up after he died they found his vocal chords were ab-solutely unique!" Then, his face white with pleasure, with amazement, with wonder: "Oh that Italyéner! Oh that Italyéner! What a power he has, that Italyéner!"
In Brownsville tenements the kitchen is always the largest room and the center of the household. As a child I felt that we lived in a kitchen to which four other rooms were annexed. My mother, a "home" dressmaker, had her workshop in the kitchen. She told me once that she had begun dressmaking in Poland at thirteen; as far back as I can remember, she was always making dresses for the local women. She had an innate sense of design, a quick eye for all the subtleties in the latest fashions, even when she despised them, and great boldness. For
three or four dollars she would study the fashion magazines with a customer, go with the customer to the remnants store on Belmont Avenue to pick out the material, argue the owner down—all remnants stores, for some reason, were supposed to be shady, as if the owners dealt in stolen goods—and then for days would patiently fit and baste and sew and fit again. Our apartment was always full of women in their housedresses sitting around the kitchen table waiting for a fitting. My little bedroom next to the kitchen was the fitting room. The sewing machine, an old nut-brown Singer with golden scrolls painted along the black arm and engraved along the two tiers of little drawers massed with needles and thread on each side of the treadle, stood next to the window and the great coal-black stove which up to my last year in college was our main source of heat. By December the two outer bedrooms were closed off, and used to chill bottles of milk and cream, cold borscht and jellied calves' feet.
The kitchen held our lives together. My mother worked in it all day long, we ate in it almost all meals except the Passover seder, I did my homework and first writing at the kitchen table, and in winter I often had a bed made up for me on three kitchen chairs near the stove. On the wall just over the table hung a long horizontal mirror that sloped to a ship's prow at each end and was lined in cherry wood. It took up the whole wall, and drew every object in the kitchen to itself. The walls were a fiercely stippled whitewash, so often rewhitened by my father in slack seasons that the paint looked as if it had been squeezed and cracked into the walls. A large electric bulb hung down the center of the kitchen at the end of a chain that had been hooked into the ceiling; the old gas ring and key still jutted out of the wall like antlers. In the corner next to the toilet was the sink at which we washed, and the square tub in which my mother did our clothes. Above it, tacked to the shelf on which were pleasantly ranged square, blue-bordered white sugar and spice jars, hung calendars from the Public National Bank on Pitkin Avenue and the Minsker Progressive Branch of the Workman's Circle; receipts for the payment of insurance premiums, and household bills on a spindle; two little boxes engraved with Hebrew letters. One of these was for the poor, the other to buy back the Land of Israel. Each spring a bearded little man would suddenly appear in our kitchen, salute us with a hurried Hebrew blessing, empty the boxes (sometimes with a sidelong look of disdain if they were not full), hurriedly bless us again for remembering our less fortunate Jewish brothers and sisters, and so take his departure until the next spring, after vainly trying to persuade my mother to take still another box. We did occasionally remember to drop coins in the boxes, but this was usually only on the dreaded morning of "midterms" and final examinations, because my mother thought it would bring me luck. She was extremely superstitious, but embarrassed about it, and always laughed at herself whenever, on the morning of an examination, she counseled me to leave the house on my right foot. "I know it's silly," her smile seemed to say, "but what harm can it do? It may calm God down."
