by Andre Dubus
The snow is not heavy but she drives slowly, cautiously, through town. It is a small town on the Merrimack River, and tonight there are few cars on the road. Leaving town she enters the two-lane country road that will take her to Joe. She tightens her seat belt, turns on the radio, lights a cigarette, and knows that none of these measures will slow the tempo of her heart. The road curves through pale meadows and dark trees and she is alone on it. Then there are houses again, distanced from each other by hills and fields, and at the third one, its front porch lighted, she turns into the driveway. She turns on the interior light, looks at her face in the rearview mirror, then goes up the shovelled walk, her face lowered from the snow, and for a moment she sees herself as Joe will see her coming inside with cheeks flushed and droplets in her long black hair. Seeing herself that way, she feels loved. She is thirty years old.
When Joe opens the door she feels the awkward futility of the shrimp in her hand. She knows he will not be able to eat tonight. He has lost thirty pounds since the night last summer when they got drunk and the next day he was sick and the day after and the day after, so that finally he could not blame it on gin and he went to a doctor and then to the hospital where a week later they removed one kidney with its envelope of cancer that had already spread upward. During the X-ray treatments in the fall, five days a week for five weeks, with the square drawn in purple marker on his chest so the technician would know where to aim, he was always nauseated. But when the treatments were finished there were nights when he could drink and eat as he used to. Other nights he could not. Tonight is one of those: above his black turtleneck the pallor of his face is sharpened; looking from that flesh his pale blue eyes seem brighter than she knows they are. His forehead is moist; he is forty years old, and his hair has been grey since his mid-thirties. He holds her, but even as he squeezes her to him, she feels him pulling his body back from the embrace, so she knows there is pain too. Yet still he holds her tightly so his pulling away causes only a stiffening of his torso while his chest presses against her. She remembers the purple square and is glad it is gone now. She kisses him.
‘I’m sorry about the shrimp,’ he says. ‘I don’t think I can eat them.’
‘It’s all right; they’ll keep.’
‘Maybe tomorrow.’
‘Maybe so.’
The apartment is small, half of the first floor of a small two-story house, and it is the place of a man who since his boyhood has not lived with a woman except housekeepers in rectories. The front room where they are standing, holding each other lightly now like dancers, is functional and, in a masculine disorderly way, orderly; it is also dirty. Fluffs of dust have accumulated on the floor. Edith decides to bring over her vacuum cleaner tomorrow. She puts her coat on a chair and moves through the room and down the short hall toward the kitchen; as she passes his bedroom she glances at the bed to see if he rested before she came; if he did, he has concealed it: the spread is smooth. She wonders how he spent his day, but she is afraid to ask. The college is still paying him, though someone else is teaching his philosophy courses that he started in the fall and had to quit after three days. She puts the shrimp in the refrigerator; always, since they were first lovers, when she looks in his refrigerator she feels a tenderness whose edges touch both amusement and pathos. The refrigerator is clean, it has four ice trays, and it holds only the makings of breakfast and cocktail hour. Behind her he is talking: this afternoon he took a short walk in the woods; he sat on a log and watched a cock pheasant walking across a clearing, its feathers fluffed against the cold. The land is posted and pheasants live there all winter. After the walk he tried to read Unamuno but finally he listened to Rachmaninoff and watched the sun setting behind the trees.
While he gets ice and pours bourbon she looks around the kitchen for signs. In the dish drainer are a bowl, a glass, and a spoon and she hopes they are from lunch, soup and milk, but she thinks they are from breakfast. He gives her the drink and opens a can of beer for himself. When he feels well he drinks gin; once he told her he’d always loved gin and that’s why he’d never been a whiskey priest.
‘Have you eaten since breakfast?’
‘No,’ he says, and his eyes look like those of a liar. Yet he and Edith never lie to each other. It is simply that they avoid the words cancer and death and time, and when they speak of his symptoms they are looking at the real words like a ghost between them. At the beginning she saw it only in his eyes: while he joked and smiled his eyes saw the ghost and she did too, and she felt isolated by her health and hope. But gradually, as she forced herself to look at his eyes, the ghost became hers too. It filled his apartment: she looked through it at the food she cooked and they ate; she looked through it at the drinks she took from his hand; it was between them when they made love in the dark of the bedroom and afterward when she lay beside him and her eyes adjusted to the dark and discerned the outlines and shapes of the chest of drawers against the wall at the foot of the bed and, hanging above it, the long black crucifix, long enough to hang in the classroom of a parochial school, making her believe Joe had taken with him from the priesthood a crucifix whose size would assert itself on his nights. When they went to restaurants and bars she looked through the ghost at other couples; it delineated these people, froze their gestures in time. One night, looking in his bathroom mirror, she saw that it was in her own eyes. She wondered what Joe’s eyes saw when they were closed, in sleep.
‘You should eat,’ she says.
‘Yes.’
‘Do you have something light I could fix?’
‘My body.’ He pats his waist; he used to have a paunch; when he lost the weight he bought clothes and now all his slacks are new.
‘Your head will be light if you take walks and don’t eat and then drink beer.’
He drinks and smiles at her.
‘Nag.’
‘Nagaina. She’s the mother cobra. In ‘Rikki-Tikki-Tavi.’ Would you eat some soup?’
‘I would. I was wondering first—’ (His eyes start to lower but he raises them again, looks at her) ‘—if you’d play trainer for a while. Then maybe I’d take some soup.’
‘Sure. Go lie down.’
She gets the heating ointment from the medicine cabinet in the bathroom; it lies beside the bottle of sleeping pills. On the shelf beneath these are his shaving cream, razor, after-shave lotion, and stick deodorant. The juxtaposition disturbs her, and for a moment she succumbs to the heavy weariness of depression. She looks at her hand holding the tube of ointment. The hand does not seem to be hers; or, if it is, it has no function, it is near atrophy, it can touch no one. She lowers the hand out of her vision, closes the cabinet door, and looks at herself in the mirror. She is pretty. The past three years show in her face, but still she is pretty and she sips her drink and thinks of Joe waiting and her fingers caress the tube.
In the bedroom Joe is lying on his back, with his shirt off. The bedside lamp is on. He rolls on his belly and turns his face on the pillow so he can watch her. She lights him a cigarette then swallows the last of her bourbon and feels it. Looking at his back she unscrews the cap from the tube; his flesh is pale and she wishes it were summer so she could take him to the beach and lie beside him and watch his skin assume a semblance of health. She squeezes ointment onto her fingers and gently rubs it into the flesh where his kidney used to be. She is overtaken by a romantic impulse which means nothing in the face of what they are facing: she wishes there were no cancer but that his other kidney was in danger and he needed hers and if only he had hers he would live. Her hands move higher on his back. He lies there and smokes, and they do not talk. The first time she rubbed his back they were silent because he had not wanted to ask her to but he had anyway; and she had not wanted to do it but she had, and her flesh had winced as she touched him, and he had known it and she had known that he did. After that, on nights when she sensed his pain, or when he told her about it, she rose from the bed and got the ointment and they were silent, absorbing the achieved intimac
y of her flesh. Now his eyes are closed and she watches his face on the pillow and feels what she is heating with her anointed hands.
When she is done she warms a can of vegetable soup and toasts a slice of bread. As she stirs the soup she feels him watching from the table behind her. He belches and blames it on the beer and she turns to him and smiles. She brings him the bowl of soup, the toast, and a glass of milk. She puts ice in her glass and pours bourbon, pouring with a quick and angry turning of the wrist that is either defiant or despairing—she doesn’t know which. She sits with him. She would like to smoke but she knows it bothers him while he is eating so she waits. But he does not finish the soup. He eats some of the toast and drinks some of the milk and pretends to wait for the soup to cool; under her eyes he eats most of the soup and finishes the toast and is lifting a spoonful to his mouth when his face is suffused with weariness and resignation which change as quickly to anger as he shakes his head and lowers the spoon, his eyes for a moment glaring at her (but she knows it isn’t her he sees) before he pushes back from the table and moves fast out of the kitchen and down the hall. She follows and is with him when he reaches the toilet and standing behind him she holds his waist with one arm and his forehead with her hand. They are there for a long time and she doesn’t ask but knows he was here after breakfast and perhaps later in the day. She thinks of him alone retching and quivering over the toilet. Still holding his waist she takes a washcloth from the towel rack and reaches to the lavatory and dampens it; she presses it against his forehead. When he is finished she walks with him to the bedroom, her arm around his waist, his around her shoulder, and she pulls back the covers while he undresses. The telephone is on the bedside table. He gets into bed and she covers him then turning her back to him she dials her home. When Hank answers she says: ‘I might stay a while.’
‘How is he?’
She doesn’t answer. She clamps her teeth and shuts her eyes and raising her left hand she pushes her hair back from her face and quickly wipes the tears from beneath her eyes.
‘Bad?’ Hank says.
‘Yes.’
‘Stay as long as you want,’ he says. His voice is tender and for a moment she responds to that; but she has been married to him for eight years and known him for the past three and the moment passes; she squeezes the phone and wants to hit him with it.
She goes to the kitchen, the bathroom, and the living room, getting her drink and turning out lights. Joe is lying on his belly with his eyes closed. She undresses, hoping he will open his eyes and see her; she is the only woman he has ever made love with and always he has liked watching her undress; but he does not open his eyes. She turns out the lamp and goes around the bed and gets in with her drink. Propped on a pillow she finishes it and lowers the glass to the floor as he holds her hand. He remains quiet and she can feel him talking to her in his mind. She moves closer to him, smelling mouthwash and ointment, and she thinks of the first time they made love and the next day he bought a second pillow and two satin pillowcases and that night showing them to her he laughed and said he felt like Gatsby with his shirts. She said: Don’t make me into that Buchanan bitch; I don’t leave bodies in the road. Months later when she went to the hospital to see him after the operation she remembered what she had said. Still, and strangely, there is a sad but definite pleasure remembering him buying the pillow and two satin pillowcases.
Suddenly he is asleep. It happens so quickly that she is afraid. She listens to his slow breath and then, outstretched beside him, touching as much of the length of his body as she can, she closes her eyes and prays to the dark above her. She feels that her prayers do not ascend, that they disseminate in the dark beneath the ceiling. She does not use words, for she cannot feel God above the bed. She prays with images: she sees Joe suffering in a hospital bed with tubes in his body and she does not want him to suffer. So finally her prayer is an image of her sitting beside this bed holding his hand while, gazing at her peacefully and without pain, he dies. But this doesn’t touch the great well of her need and she wishes she could know the words for all of her need and that her statement would rise through and beyond the ceiling, up beyond the snow and stars, until it reached an ear. Then listening to Joe’s breathing she begins to relax, and soon she sleeps. Some time in the night she is waked by his hands. He doesn’t speak. His breath is quick and he kisses her and enters with a thrust she receives; she feels him arcing like Icarus, and when he collapses on her and presses his lips to her throat she knows she holds his entire history in her body. It has been a long time since she has felt this with a man. Perhaps she never has.
§2
ALL SHE HAD ever wanted to be was a nice girl someone would want to marry. When she married Hank Allison she was twenty-two years old and she had not thought of other possibilities. Husbands died, but one didn’t think of that. Marriages died too: she had seen enough corpses and heard enough autopsies in Winnetka (the women speaking: sipping their drinks, some of them afraid, some fascinated as though by lust; no other conversation involved them so; Edith could feel flesh in the room, pores, blood, as they spoke of what had destroyed or set free one of their kind); so she knew about the death of love as she knew about breast cancer. And, just as she touched and explored her breasts, she fondled her marriage, stroked that space of light and air that separated her from Hank.
He was her first lover; they married a year earlier than they had planned because she was pregnant. From the time she missed her first period until she went to the gynecologist she was afraid and Hank was too; every night he came to her apartment and the first thing he asked was whether she had started. Then he drank and talked about his work and the worry left his eyes. After she had gone to the doctor she was afraid for another week or so; Hank’s eyes pushed her further into herself. But after a while he was able to joke about it. We should have done it right, he said—gone to the senior prom and made it in the car. He was merry and resilient. In her bed he grinned and said the gods had caught up with him for all the times he’d screwed like a stray dog.
When she was certain Hank did not feel trapped she no longer felt trapped, and she became happy about having a child. She phoned her parents. They seemed neither alarmed nor unhappy. They liked Hank and, though Edith had never told them, she knew they had guessed she and Hank were lovers. She drove up to Winnetka to plan the wedding. While her father was at work or gone to bed she had prenatal conversations with her mother. They spoke of breast-feeding, diet, smoking, natural childbirth, saddleblocks. Edith didn’t recognize the significance of these conversations until much later, in her ninth month. They meant that her marriage had begun at the moment when she was first happy about carrying a child. She was no longer Hank’s lover; she was his wife. What had been clandestine and sweet and dark was now open; the fruit of that intimacy was shared with her mother. She had begun to nest. Before the wedding she drove back to Iowa City, where Hank was a graduate student, and found and rented a small house. There was a room where Hank could write and there was a room for the baby, as it grew older. There was a back yard with an elm tree. She had money from her parents, and spent a few days buying things to put in the house. People delivered them. It was simple and comforting.
In her ninth month, looking back on that time, she began to worry about Hank. Her life had changed, had entered a trajectory of pregnancy and motherhood; his life had merely shifted to the side, to make more room. But she began to wonder if he had merely shifted. Where was he, who was he, while she talked with her mother, bought a washing machine, and felt the baby growing inside her? At first she worried that he had been left out, or anyway felt left out; that his shifting aside had involved enormous steps. Then at last she worried that he had not shifted at all but, for his own survival, had turned away.
She became frightened. She remembered how they had planned marriage: it would come when he finished school, got a job. They used to talk about it. Hank lived in one room of an old brick building which was owned by a cantankerous and colorful old
man who walked with the assistance of a stout, gnarled, and threatening cane; like most colorful people, he knew he was and he used that quality, in his dealings with student-tenants, to balance his cantankerousness, which he was also aware of and could have controlled but instead indulged, the way some people indulge their vicious and beloved dogs. In the old brick house there was one communal kitchen, downstairs; it was always dirty and the refrigerator was usually empty because people tended to eat whatever they found there, even if the owner had attached a note to it asking that it be spared.
Edith did not cook for Hank in that kitchen. When she cooked for him, and she liked to do that often, she did it in her own apartment, in a tiny stifling kitchen that was little more than an alcove never meant to hold the refrigerator and stove, which faced each other and could not be opened at the same time. Her apartment itself was narrow, a room on one side of a house belonging to a tense young lawyer and his tenser young wife and their two loud sons who seemed oblivious to that quality which permeated their parents’ lives. Neither the lawyer nor his wife had ever told Edith she could not keep a man overnight. But she knew she could not. She knew this because they did not drink or smoke or laugh very much either, and because of the perturbed lust in the lawyer’s eyes when he glanced at her. So she and Hank made love on the couch that unfolded and became a narrow bed, and then he went home. He didn’t want to spend the night anyway, except on some nights when he was drunk. Since he was a young writer in a graduate school whose only demand was that he write, and write well, he was often drunk, either because he had written well that day or had not. But he was rarely so drunk that he wanted to stay the night at Edith’s. And, when he did, it wasn’t because liquor had released in him some need he wouldn’t ordinarily yield to; it was because he didn’t want to drive home. Always, though, she got him out of the house; and always he was glad next morning that she had.
