Miss Amelia let her hair grow ragged, and it was turning gray. Her face lengthened, and the great muscles of her body shrank until she was thin as old maids are thin when they go crazy. And those gray eyes—slowly day by day they were more crossed, and it was as though they sought each other out to exchange a little glance of grief and lonely recognition. She was not pleasant to listen to; her tongue had sharpened terribly.
When anyone mentioned the hunchback she would say only this: ‘Ho! if I could lay hand to him I would rip out his gizzard and throw it to the cat!’ But it was not so much the words that were terrible, but the voice in which they were said. Her voice had lost its old vigor; there was none of the ring of vengeance it used to have when she would mention ‘that loom-fixer I was married to,’ or some other enemy. Her voice was broken, soft, and sad as the wheezy whine of the church pump-organ.
For three years she sat out on the front steps every night, alone and silent, looking down the road and waiting. But the hunchback never returned. There were rumors that Marvin Macy used him to climb into windows and steal, and other rumors that Marvin Macy had sold him into a side show. But both these reports were traced back to Merlie Ryan. Nothing true was ever heard of him. It was in the fourth year that Miss Amelia hired a Cheehaw carpenter and had him board up the premises, and there in those closed rooms she has remained ever since.
Yes, the town is dreary. On August afternoons the road is empty, white with dust, and the sky above is bright as glass. Nothing moves—there are no children’s voices, only the hum of the mill. The peach trees seem to grow more crooked every summer, and the leaves are dull gray and of a sickly delicacy. The house of Miss Amelia leans so much to the right that it is now only a question of time when it will collapse completely, and people are careful not to walk around the yard. There is no good liquor to be bought in the town; the nearest still is eight miles away, and the liquor is such that those who drink it grow warts on their livers the size of goobers, and dream themselves into a dangerous inward world. There is absolutely nothing to do in the town. Walk around the millpond, stand kicking at a rotten stump, figure out what you can do with the old wagon wheel by the side of the road near the church. The soul rots with boredom. You might as well go down to the Forks Falls highway and listen to the chain gang.
THE TWELVE MORTAL MEN
The Forks Falls highway is three miles from the town, and it is here the chain gang has been working. The road is of macadam, and the county decided to patch up the rough places and widen it at a certain dangerous place. The gang is made up of twelve men, all wearing black and white striped prison suits, and chained at the ankles. There is a guard, with a gun, his eyes drawn to red slits by the glare. The gang works all the day long, arriving huddled in the prison cart soon after daybreak, and being driven off again in the gray August twilight. All day there is the sound of the picks striking into the clay earth, hard sunlight, the smell of sweat. And every day there is music. One dark voice will start a phrase, half-sung, and like a question. And after a moment another voice will join in, soon the whole gang will be singing. The voices are dark in the golden glare, the music intricately blended, both somber and joyful. The music will swell until at last it seems that the sound does not come from the twelve men on the gang, but from the earth itself, or the wide sky. It is music that causes the heart to broaden and the listener to grow cold with ecstasy and fright. Then slowly the music will sink down until at last there remains one lonely voice, then a great hoarse breath, the sun, the sound of the picks in the silence.
And what kind of gang is this that can make such music? Just twelve mortal men, seven of them black and five of them white boys from this county. Just twelve mortal men who are together.
Wunderkind
SHE CAME into the living room, her music satchel plopping against her winter-stockinged legs and her other arm weighted down with school books, and stood for a moment listening to the sounds from the studio. A soft procession of piano chords and the tuning of a violin. Then Mister Bilderbach called out to her in his chunky, guttural tones:
‘That you, Bienchen?’
As she jerked off her mittens she saw that her fingers were twitching to the motions of the fugue she had practiced that morning. ‘Yes,’ she answered. ‘It’s me.’
‘I,’ the voice corrected. ‘Just a moment.’
She could hear Mister Lafkowitz talking—his words spun out in a silky, unintelligible hum. A voice almost like a woman’s, she thought, compared to Mister Bilderbach’s. Restlessness scattered her attention. She fumbled with her geometry book and Le Voyage de Monsieur Perrichon before putting them on the table. She sat down on the sofa and began to take her music from the satchel. Again she saw her hands—the quivering tendons that stretched down from her knuckles, the sore finger tip capped with curled, dingy tape. The sight sharpened the fear that had begun to torment her for the past few months.
Noiselessly she mumbled a few phrases of encouragement to herself. A good lesson—a good lesson—like it used to be—Her lips closed as she heard the stolid sound of Mister Bilderbach’s footsteps across the floor of the studio and the creaking of the door as it slid open.
For a moment she had the peculiar feeling that during most of the fifteen years of her life she had been looking at the face and shoulders that jutted from behind the door, in a silence disturbed only by the muted, blank plucking of a violin string. Mister Bilderbach. Her teacher, Mr. Bilderbach. The quick eyes behind the horn-rimmed glasses; the light, thin hair and the narrow face beneath; the lips full and loose shut and the lower one pink and shining from the bites of his teeth; the forked veins in his temples throbbing plainly enough to be observed across the room.
‘Aren’t you a little early?’ he asked, glancing at the clock on the mantelpiece that had pointed to five minutes of twelve for a month. ‘Josef’s in here. We’re running over a little sonatina by someone he knows.’
‘Good,’ she said, trying to smile. ‘I’ll listen.’ She could see her fingers sinking powerless into a blur of piano keys. She felt tired—felt that if he looked at her much longer her hands might tremble.
He stood uncertain, halfway in the room. Sharply his teeth pushed down on his bright, swollen lips. ‘Hungry, Bienchen?’ he asked. ‘There’s some apple cake Anna made, and milk.’
‘I’ll wait till afterward,’ she said. ‘Thanks.’
‘After you finish with a very fine lesson—eh?’ His smile seemed to crumble at the corners.
There was a sound from behind him in the studio and Mister Lafkowitz pushed at the other panel of the door and stood beside him.
‘Frances?’ he said, smiling. ‘And how is the work coming now?’
Without meaning to, Mister Lafkowitz always made her feel clumsy and overgrown. He was such a small man himself, with a weary look when he was not holding his violin. His eyebrows curved high above his sallow, Jewish face as though asking a question, but the lids of his eyes drowsed languorous and indifferent. Today he seemed distracted. She watched him come into the room for no apparent purpose, holding his pearl-tipped bow in his still fingers, slowly gliding the white horsehair through a chalky piece of rosin. His eyes were sharp bright slits today and the linen handkerchief that flowed down from his collar darkened the shadows beneath them.
‘I gather you’re doing a lot now,’ smiled Mister Lafkowitz, although she had not yet answered the question.
She looked at Mister Bilderbach. He turned away. His heavy shoulders pushed the door open wide so that the late afternoon sun came through the window of the studio and shafted yellow over the dusty living room. Behind her teacher she could see the squat long piano, the window, and the bust of Brahms.
‘No,’ she said to Mister Lafkowitz, ‘I’m doing terribly.’ Her thin fingers flipped at the pages of her music. ‘I don’t know what’s the matter,’ she said, looking at Mister Bilderbach’s stooped muscular back that stood tense and listening.
Mister Lafkowitz smiled. ‘There are times, I sup
pose, when one——’
A harsh chord sounded from the piano. ‘Don’t you think we’d better get on with this?’ asked Mister Bilderbach.
‘Immediately,’ said Mister Lafkowitz, giving the bow one more scrape before starting toward the door. She could see him pick up his violin from the top of the piano. He caught her eye and lowered the instrument. ‘You’ve seen the picture of Heime?’
Her fingers curled tight over the sharp corner of the satchel. ‘What picture?’
‘One of Heime in the Musical Courier there on the table. Inside the top cover.’
The sonatina began. Discordant yet somehow simple. Empty but with a sharp-cut style of its own. She reached for the magazine and opened it.
There Heime was—in the left-hand corner. Holding his violin with his fingers hooked down over the strings for a pizzicato. With his dark serge knickers strapped neatly beneath his knees, a sweater and rolled collar. It was a bad picture. Although it was snapped in profile his eyes were cut around toward the photographer and his finger looked as though it would pluck the wrong string. He seemed suffering to turn around toward the picture-taking apparatus. He was thinner—his stomach did not poke out now—but he hadn’t changed much in six months.
Heime Israelsky, talented young violinist, snapped while at work in his teacher’s studio on Riverside Drive. Young Master Israelsky, who will soon celebrate his fifteenth birthday, has been invited to play the Beethoven Concerto with—
That morning, after she had practiced from six until eight, her dad had made her sit down at the table with the family for breakfast. She hated breakfast; it gave her a sick feeling afterward. She would rather wait and get four chocolate bars with her twenty cents lunch money and munch them during school—bringing up little morsels from the pocket under cover of her handkerchief, stopping dead when the silver paper rattled. But this morning her dad had put a fried egg on her plate and she had known that if it burst—so that the slimy yellow oozed over the white—she would cry. And that had happened. The same feeling was upon her now. Gingerly she laid the magazine back on the table and closed her eyes.
The music in the studio seemed to be urging violently and clumsily for something that was not to be had. After a moment her thoughts drew back from Heime and the concerto and the picture—and hovered around the lesson once more. She slid over on the sofa until she could see plainly into the studio—the two of them playing, peering at the notations on the piano, lustfully drawing out all that was there.
She could not forget the memory of Mister Bilderbach’s face as he had stared at her a moment ago. Her hands, still twitching unconsciously to the motions of the fugue, closed over her bony knees. Tired, she was. And with a circling, sinking away feeling like the one that often came to her just before she dropped off to sleep on the nights when she had over-practiced. Like those weary half-dreams that buzzed and carried her out into their own whirligig space.
A Wunderkind— a Wunderkind—a Wunderkind. The syllables would come out rolling in the deep German way, roar against her ears and then fall to a murmur. Along with the faces circling, swelling out in distortion, diminishing to pale blobs—Mister Bilderbach, Mrs. Bilderbach, Heime, Mister Lafkowitz. Around and around in a circle revolving to the guttural Wunderkind. Mister Bilderbach looming large in the middle of the circle, his face urging—with the others around him.
Phrases of music seesawing crazily. Notes she had been practicing falling over each other like a handful of marbles dropped downstairs. Bach, Debussy, Prokofieff, Brahms—timed grotesquely to the far off throb of her tired body and the buzzing circle.
Sometimes—when she had not worked more than three hours or had stayed out from high school—the dreams were not so confused. The music soared clearly in her mind and quick, precise little memories would come back—clear as the sissy ‘Age of Innocence’ picture Heime had given her after their joint concert was over.
A Wunderkind— a Wunderkind. That was what Mister Bilderbach had called her when, at twelve, she first came to him. Older pupils had repeated the word.
Not that he had ever said the word to her. ‘Bienchen—’ (She had a plain American name but he never used it except when her mistakes were enormous.) ‘Bienchen,’ he would say, ‘I know it must be terrible. Carrying around all the time a head that thick. Poor Bienchen——’
Mister Bilderbach’s father had been a Dutch violinist. His mother was from Prague. He had been born in this country and had spent his youth in Germany. So many times she wished she had not been born and brought up in just Cincinnati. How do you say cheese in German? Mister Bilderbach, what is Dutch for I don’t understand you?
The first day she came to the studio. After she played the whole Second Hungarian Rhapsody from memory. The room graying with twilight. His face as he leaned over the piano.
‘Now we begin all over,’ he said that first day. ‘It—playing music—is more than cleverness. If a twelve-year-old girl’s fingers cover so many keys to a second—that means nothing.’
He tapped his broad chest and his forehead with his stubby hand. ‘Here and here. You are old enough to understand that.’ He lighted a cigarette and gently blew the first exhalation above her head. ‘And work—work—work—. We will start now with these Bach Inventions and these little Schumann pieces.’ His hands moved again—this time to jerk the cord of the lamp behind her and point to the music. ‘I will show you how I wish this practiced. Listen carefully now.’
She had been at the piano for almost three hours and was very tired. His deep voice sounded as though it had been straying inside her for a long time. She wanted to reach out and touch his muscle-flexed finger that pointed out the phrases, wanted to feel the gleaming gold band ring and the strong hairy back of his hand.
She had lessons Tuesday after school and on Saturday afternoons. Often she stayed, when the Saturday lesson was finished, for dinner, and then spent the night and took the streetcar home the next morning. Mrs. Bilderbach liked her in her calm, almost dumb way. She was much different from her husband. She was quiet and fat and slow. When she wasn’t in the kitchen, cooking the rich dishes that both of them loved, she seemed to spend all her time in their bed upstairs, reading magazines or just looking with a half-smile at nothing. When they had married in Germany she had been a lieder singer. She didn’t sing anymore (she said it was her throat). When he would call her in from the kitchen to listen to a pupil she would always smile and say that it was gut, very gut.
When Frances was thirteen it came to her one day that the Bilderbachs had no children. It seemed strange. Once she had been back in the kitchen with Mrs. Bilderbach when he had come striding in from the studio, tense with anger at some pupil who had annoyed him. His wife stood stirring the thick soup until his hand groped out and rested on her shoulder. Then she turned—stood placid—while he folded his arms about her and buried his sharp face in the white, nerveless flesh of her neck. They stood that way without moving. And then his face jerked back suddenly, the anger diminished to a quiet inexpressiveness, and he had returned to the studio.
After she had started with Mister Bilderbach and didn’t have time to see anything of the people at high school, Heime had been the only friend of her own age. He was Mister Lafkowitz’s pupil and would come with him to Mister Bilderbach’s on evenings when she would be there. They would listen to their teachers’ playing. And often they themselves went over chamber music together—Mozart sonatas or Bloch.
A Wunderkind— a Wunderkind.
Heime was a Wunderkind. He and she, then.
Heime had been playing the violin since he was four. He didn’t have to go to school; Mister Lafkowitz’s brother, who was crippled, used to teach him geometry and European history and French verbs in the afternoon. When he was thirteen he had as fine a technique as any violinist in Cincinnati—everyone said so. But playing the violin must be easier than the piano. She knew it must be.
Heime always seemed to smell of corduroy pants and the food he had eaten and rosin.
Half the time, too, his hands were dirty around the knuckles and the cuffs of his shirts peeped out dingily from the sleeves of his sweater. She always watched his hands when he played—thin only at the joints with the hard little blobs of flesh bulging over the short-cut nails and the babyish-looking crease that showed so plainly in his bowing wrist.
In the dreams, as when she was awake, she could remember the concert only in a blur. She had not known it was unsuccessful for her until months after. True, the papers had praised Heime more than her. But he was much shorter than she. When they stood together on the stage he came only to her shoulders. And that made a difference with people, she knew. Also, there was the matter of the sonata they played together. The Bloch.
‘No, no—I don’t think that would be appropriate.’ Mister Bilderbach had said when the Bloch was suggested to end the programme. ‘Now that John Powell thing—the Sonate Virginianesque.’
The Ballad of the Sad Cafe Page 8
