"We're here," Maxine calls out, waving, her arms in a V. They walk toward her parents, who are sitting on Adirondack chairs on the grass, their legs and feet bare, drinking cocktails and admiring the view. Silas comes bounding toward them, barking across the lawn. Gerald and Lydia are tanner, leaner, a bit scantily dressed, Lydia in a white tank top and a denim wrap skirt, Gerald in wrinkled blue shorts, a green polo shirt faded with use. Lydia's arms are nearly as dark as his own. Gerald has burned. Discarded books lie at their feet, facedown on the grass. A turquoise dragonfly hovers above them, then darts crookedly away. They turn their heads in greeting, shielding their eyes from the sun's glare. "Welcome to paradise," Gerald says.
It is the opposite of how they live in New York. The house is dark, a bit musty, full of primitive, mismatched furniture. There are exposed pipes in the bathrooms, wires stapled over doorsills, nails protruding from beams. On the walls are clusters of local butterflies, mounted and framed, a map of the region on thin white paper, photographs of the family at the lake over the years. Checkered cotton curtains hang in the windows on thin white rods. Instead of staying with Gerald and Lydia, he and Maxine sleep in an unheated cabin down a path from the main house. No bigger than a cell, the space was originally built for Maxine to play in when she was a girl. There is a small chest of drawers, a crude night table between two twin beds, a lamp with a plaid paper shade, two wooden chests in which extra quilts are stored. The beds are covered with ancient electric blankets. In the corner is a device whose hum is supposed to keep the bats away. Hairy, unfinished logs hold up the roof, and there is a gap between where the floor ends and the wall begins, so that one can see a thin line of grass. There are insect carcasses everywhere, squashed against the windowpanes and walls, languishing in pools of water behind the taps of the sink. "It's sort of like being at camp," Maxine says as they unpack their things, but Gogol has never been to camp, and though he is only three hours away from his parents' house, this is an unknown world to him, a kind of holiday he's never been on.
During the days he sits with Maxine's family on a thin strip of beach, looking out onto the glittering jade lake, surrounded by other homes, overturned canoes. Long docks jut into the water. Tadpoles dart close to shore. He does as they do, sitting on a folding chair, a cotton cap on his head, applying sunblock at intervals to his arms, reading, falling asleep after barely a page. He wades into the water and swims to the dock when his shoulders grow too warm, the sand free of stones or growth, smooth and yielding under his feet. Occasionally they are joined by Maxine's grandparents, Hank and Edith, who live on the lake several houses away. Hank, a retired professor of classical archaeology, always brings a small volume of Greek poetry to read, his long sun-spotted fingers curling over the tops of the pages. At some point he gets up, laboriously removing his shoes and socks, and walks calf-deep into the water, regarding the surroundings with his hands on his hips, his chin thrust pridefully into the air. Edith is small and thin, proportioned like a girl, her white hair cut in a bob and her face deeply wrinkled. They have traveled a bit of the world together, Italy, Greece, Egypt, Iran. "We never got as far as India," Edith tells him. "We would certainly have loved to have seen that."
All day he and Maxine walk about the property barefoot in their bathing suits. Gogol goes for runs around the lake with Gerald, arduous laps along steep hilly dirt roads, so infrequently traveled that they can occupy the dead center. Halfway around is a small private graveyard where members of the Ratliff family lie buried, where Gerald and Gogol always stop to catch their breath. Where Maxine will be buried one day. Gerald spends most of his time in his vegetable garden, his nails permanently blackened from his careful cultivation of lettuce and herbs. One day, Gogol and Maxine swim over to Hank and Edith's for lunch, for egg salad sandwiches and canned tomato soup. Some nights, when it's too warm in the cabin, he and Maxine take a flashlight and walk to the lake in their pajamas to go skinny-dipping. They swim in the dark water, under the moonlight, weeds catching their limbs, out to the neighboring dock. The unfamiliar sensation of the water surrounding his unclothed body arouses Gogol, and when they come back to shore they make love on the grass that is wet from their bodies. He looks up at her, and behind her, at the sky, which holds more stars than he ever has seen at one time, crowded together, a mess of dust and gems.
In spite of the fact that there is nothing in particular to do, the days assume a pattern. There is a certain stringency to life, a willful doing without. In the mornings they wake early to the frenzied chirping of birds, when the eastern sky is streaked with the thinnest of pink clouds. Breakfast is eaten by seven, on the screened-in porch overlooking the lake where they have all their meals, homemade preserves slathered on thick slices of bread. Their news of the world comes from the thin local paper Gerald brings back each day from the general store. In the late afternoons, they shower and dress for dinner. They sit with their drinks on the lawn, eating pieces of the cheese Gogol and Maxine brought from New York, and watch the sun set behind the mountains, bats darting between the pines that soar as tall as ten-story buildings, all the bathing suits hung to dry on a line. Dinners are simple: boiled corn from a farm stand, cold chicken, pasta with pesto, tomatoes from the garden sliced and salted on a plate. Lydia bakes pies and cobblers with berries picked by hand. Occasionally she disappears for the day, to go antiquing in the surrounding towns. There is no television to watch in the evenings, just an old stereo on which they sometimes play a symphony or jazz. On the first rainy day Gerald and Lydia teach him to play cribbage. They are often in bed by nine. The phone, in the main house, seldom rings.
He grows to appreciate being utterly disconnected from the world. He grows used to the quiet, the scent of sun-warmed wood. The only sounds are the occasional motorboat cutting across the water, screen doors snapping shut. He presents Gerald and Lydia with a sketch of the main house done one afternoon down at the beach, the first thing he's drawn in years that hasn't been for work. They set it atop the crowded mantel of the stone fireplace, next to piles of books and photographs, promise to have it framed. The family seems to possess every piece of the landscape, not only the house itself but every tree and blade of grass. Nothing is locked, not the main house, or the cabin that he and Maxine sleep in. Anyone could walk in. He thinks of the alarm system now installed in his parents' house, wonders why they cannot relax about their physical surroundings in the same way. The Ratliffs own the moon that floats over the lake, and the sun and the clouds. It is a place that has been good to them, as much a part of them as a member of the family. The idea of returning year after year to a single place appeals to Gogol deeply. Yet he cannot picture his family occupying a house like this, playing board games on rainy afternoons, watching shooting stars at night, all their relatives gathered neatly on a small strip of sand. It is an impulse his parents have never felt, this need to be so far from things. They would have felt lonely in this setting, remarking that they were the only Indians. They would not want to go hiking, as he and Maxine and Gerald and Lydia do almost every day, up the rocky mountain trails, to watch the sun set over the valley. They would not care to cook with the fresh basil that grows rampant in Gerald's garden or to spend a whole day boiling blueberries for jam. His mother would not put on a bathing suit or swim. He feels no nostalgia for the vacations he's spent with his family, and he realizes now that they were never really true vacations at all. Instead they were overwhelming, disorienting expeditions, either going to Calcutta, or sightseeing in places they did not belong to and intended never to see again. Some summers there had been road trips with one or two Bengali families, in rented vans, going to Toronto or Atlanta or Chicago, places where they had other Bengali friends. The fathers would be huddled at the front, taking turns at the wheel, consulting maps highlighted by AAA. All the children would sit in the back with plastic tubs of aloo dum and cold flattened luchis wrapped in foil, fried the day before, which they would stop in state parks to eat on picnic tables. They had stayed in motels, slept
whole families to a single room, swum in pools that could be seen from the road.
***
One day they canoe across the lake. Maxine teaches him how to paddle properly, angling the oar and drawing it back through the still, gray water. She speaks reverently of her summers here. This is her favorite place in the world, she tells him, and he understands that this landscape, the water of this particular lake in which she first learned to swim, is an essential part of her, even more so than the house in Chelsea. This was where she lost her virginity, she confesses, when she was fourteen years old, in a boathouse, with a boy whose family once summered here. He thinks of himself at fourteen, his life nothing like it is now, still called Gogol and nothing else. He remembers Maxine's reaction to his telling her about his other name, as they'd driven up from his parents' house. "That's the cutest thing I've ever heard," she'd said. And then she'd never mentioned it again, this essential fact about his life slipping from her mind as so many others did. He realizes that this is a place that will always be here for her. It makes it easy to imagine her past, and her future, to picture her growing old. He sees her with streaks of gray in her hair, her face still beautiful, her long body slightly widened and slack, sitting on a beach chair with a floppy hat on her head. He sees her returning here, grieving, to bury her parents, teaching her children to swim in the lake, leading them with two hands into the water, showing them how to dive cleanly off the edge of the dock.
It is here that his twenty-seventh birthday is celebrated, the first birthday in his life that he hasn't spent with his own parents, either in Calcutta or on Pemberton Road. Lydia and Maxine plan a special dinner, curling up with cookbooks for days beforehand on the beach. They decide to make a paella, drive to Maine for the mussels and clams. An angel food cake is baked from scratch. They bring the dining table out onto the lawn, a few card tables added on to make room for everyone. In addition to Hank and Edith, a number of friends from around the lake are invited. The women arrive in straw hats and linen dresses. The front lawn fills up with cars, and small children scamper among them. There is talk of the lake, the temperature dropping, the water turning cooler, summer coming to an end. There are complaints about motorboats, gossip about the owner of the general store, whose wife has run off with another man and is seeking a divorce. "Here's the architect Max brought up with her," Gerald says at one point, leading him over to a couple interested in building an addition to their cottage. Gogol speaks to the couple about their plans, promises to come down and have a look at their place before he leaves. At dinner he is asked by his neighbor, a middle-aged woman named Pamela, at what age he moved to America from India.
"I'm from Boston," he says.
It turns out Pamela is from Boston as well, but when he tells her the name of the suburb where his parents live Pamela shakes her head. "I've never heard of that." She goes on, "I once had a girlfriend who went to India."
"Oh? Where did she go?"
"I don't know. All I remember is that she came back thin as a rail, and that I was horribly envious of her." Pamela laughs. "But you must be lucky that way."
"What do you mean?"
"I mean, you must never get sick."
"Actually, that's not true," he says, slightly annoyed. He looks over at Maxine, trying to catch her eye, but she's speaking intently with her neighbor. "We get sick all the time. We have to get shots before we go. My parents devote the better part of a suitcase to medicine."
"But you're Indian," Pamela says, frowning. "I'd think the climate wouldn't affect you, given your heritage."
"Pamela, Nick's American," Lydia says, leaning across the table, rescuing Gogol from the conversation. "He was born here." She turns to him, and he sees from Lydia's expression that after all these months, she herself isn't sure. "Weren't you?"
Champagne is poured with the cake. "To Nikhil," Gerald announces, raising his glass. Everybody sings "Happy Birthday," this group who has known him for only one evening. Who will forget him the next day. It is in the midst of the laughter of these drunken adults, and the cries of their children running barefoot, chasing fireflies on the lawn, that he remembers that his father left for Cleveland a week ago, that by now he is there, in a new apartment, alone. That his mother is alone on Pemberton Road. He knows he should call to make sure his father has arrived safely, and to find out how his mother is faring on her own. But such concerns make no sense here among Maxine and her family. That night, lying in the cabin beside Maxine, he is woken by the sound of the phone ringing persistently in the main house. He gets out of bed, convinced that it's his parents calling to wish him a happy birthday, mortified that it will wake Gerald and Lydia from sleep. He stumbles onto the lawn, but when his bare feet strike the cold grass there is silence, and he realizes the ringing he'd heard had been a dream. He returns to bed, squeezing in beside Maxine's warm, sleeping body, and drapes his arm around her narrow waist, fits his knees behind hers. Through the window he sees that dawn is creeping into the sky, only a handful of stars still visible, the shapes of the surrounding pines and cabins growing distinct. A bird begins to call. And then he remembers that his parents can't possibly reach him: he has not given them the number, and the Ratliffs are unlisted. That here at Maxine's side, in this cloistered wilderness, he is free.
7
Ashima sits at the kitchen table on Pemberton Road, addressing Christmas cards. A cup of Lipton tea grows slowly cold by her hand. Three different address books are open before her, along with some calligraphy pens she's found in the desk drawer in Gogol's room, and the stack of cards, and a bit of dampened sponge to seal the envelopes with. The oldest of the address books, bought twenty-eight years ago at a stationery store in Harvard Square, has a pebbly black cover and blue pages, bound together by a rubber band. The other two are larger, prettier, the alphabetical tabs still intact. One has a padded dark green cover and pages edged in gilt. Her favorite, a birthday gift from Gogol, features paintings that hang in the Museum of Modern Art. On the endpapers of all these books are phone numbers corresponding to no one, and the 800 numbers of all the airlines they've flown back and forth to Calcutta, and reservation numbers, and her ballpoint doodles as she was kept on hold.
Having three separate address books makes her current task a bit complicated. But Ashima does not believe in crossing out names, or consolidating them into a single book. She prides herself on each entry in each volume, for together they form a record of all the Bengalis she and Ashoke have known over the years, all the people she has had the fortune to share rice with in a foreign land. She remembers the day she bought the oldest book, soon after arriving in America, one of her first trips out of the apartment without Ashoke at her side, the five-dollar bill in her purse feeling like a fortune. She remembers selecting the smallest and cheapest style, saying "I would like to buy this one, please" as she placed the item on the counter, her heart pounding for fear that she would not be understood. The salesperson had not even glanced at her, had said nothing other than the price. She had come back to the apartment and written into the book's blank blue pages her parents' address in Calcutta, on Amherst Street, and then her in-laws' in Alipore, and finally her own, the apartment in Central Square, so that she would remember it. She had written in Ashoke's extension at MIT, conscious of writing his name for the first time in her life, writing his last name as well. That had been her world.
She has made her own Christmas cards this year, an idea she picked up from a book in the crafts section of the library. Normally she buys boxes of cards, marked fifty percent off at department stores in January, always forgetting, by the following winter, exactly where in the house she's put them. She is careful to choose ones that say "Happy Holidays" or "Season's Greetings" as opposed to "Merry Christmas," to avoid angels or nativity scenes in favor of what she considers firmly secular images—a sleigh being pulled through a snow-covered field, or skaters on a pond. This year's card is a drawing she has done herself, of an elephant decked with red and green jewels, glued onto silver
paper. The elephant is a replica of a drawing her father had done for Gogol over twenty-seven years ago, in the margins of an aerogramme. She has saved her dead parents' letters on the top shelf of her closet, in a large white purse she used to carry in the seventies until the strap broke. Once a year she dumps the letters onto her bed and goes through them, devoting an entire day to her parents' words, allowing herself a good cry. She revisits their affection and concern, conveyed weekly, faithfully, across continents—all the bits of news that had had nothing to do with her life in Cambridge but which had sustained her in those days nevertheless. Her ability to reproduce the elephant has surprised her. She has not drawn a thing since she was a child, has assumed she'd long forgotten what her father had once taught her, and what her son has inherited, about holding the pen with confidence and making bold, swift strokes. She spent a whole day redoing the drawing on different sheets of paper, coloring it in, trimming it to size, taking it to the university copy center. For an entire evening she had driven herself to different stationery stores in the town, looking for red envelopes that the cards would fit into.
She has time to do things like this now that she is alone. Now that there is no one to feed or entertain or talk to for weeks at a time. At forty-eight she has come to experience the solitude that her husband and son and daughter already know, and which they claim not to mind. "It's not such a big deal," her children tell her. "Everyone should live on their own at some point." But Ashima feels too old to learn such a skill. She hates returning in the evenings to a dark, empty house, going to sleep on one side of the bed and waking up on another. At first she was wildly industrious, cleaning out closets and scrubbing the insides of kitchen cupboards and scraping the shelves of the refrigerator, rinsing out the vegetable bins. In spite of the security system she would sit up startled in the middle of the night by a sound somewhere in the house, or the rapid taps that traveled through the baseboards when heat flowed through the pipes. For nights on end, she would double-check all the window locks, making sure that they were fastened tightly. There was the night she'd been roused by a repetitive banging outside the front door and called Ashoke in Ohio. With the cordless phone pressed to her ear, she'd gone downstairs and looked through the peephole, and when she'd finally opened the door she saw that it was only the screen door, which she'd forgotten to latch, swinging wildly in the wind.
The Namesake Page 17
