by John Barth
“Sounds right woozy to me, Will,” Hector declared. Karl gruffly advised Wilhelm to stick with tits and behinds if he hoped to turn stone into money. Even Konrad, gentle Platonist, wondered whether any artist who forsook the ancient function of mirroring nature could survive.
“This is 1917!” Wilhelm would laugh. “We’re in the twentieth century!”
A photograph made of the brothers that week by one of his artist-friends from Baltimore—the last but one of Wilhelm in the Mensches’ album—shows scowling Karl with a face like modeled beef; lean-faced Hector with his long artist’s fingers and the eyes already of an assistant principal; and leaner Wilhelm, face like an exposed nerve, his edgy smile belied by eyes that stare as if into the Pit. He was doing no sculpting at all, Hector learned, only heavy masonry, trying to discover “what the rocks themselves want to be…” In the issues of the war, painfully debated in two languages in the Menschhaus, he took no interest; if he was impatient to get to France it was to carry on the battle in himself, between his natural gift for mimesis and his new conviction (learned as much in the mountains as in the avant-garde art journals) that every stroke of the chisel falsified the stone.
Whatever their feelings about the fatherland, no families were more eager than the immigrant Germans to demonstrate their American patriotism. It was Grandfather’s opinion that Karl, at least, could without disgrace stay home to help run the firm, which was feeling the effects of its founder’s past connection with North German Lloyds and the notoriety of his own house as a weekend Biergarten. But all three of his sons enlisted, and virtually every other young man of German parentage in the county. With the rest of a large contingent of new soldiers, they set out for Baltimore on an April forenoon aboard the side-wheeler Emma Giles. As its famous beehive-and-flower paddle box churned away from Long Wharf towards the channel buoy and the Bay, they were serenaded by a chorus of their red-faced fathers, ramrod-straight and conducted by Thomas Mensch with a small American flag:
“Ofer dere, ofer dere,
Zent a vert, to be hert
Ofer dere.”
There was one furlough home before they shipped to France. Rather, separate and overlapping furloughs for the three, during which the twins rewooed an old high-school flame, Andrea King of the neighboring county. Grandmother Mensch wept at her sons’ uniforms. Wilhelm sketched her likeness and carved for his sister Rosa a little stand for her Easter egg, out of a curious grape crotch that caught his eye as he helped prune and tie the family vines. A mere playful heightening of the wood’s natural contours into a laughing grotesque whose foolscap supports the egg, it is our only evidence of what might have been the artist’s next direction. Karl was stationed in Texas with a company of engineers. Hector saw action in the Argonne Forest, took German shrapnel in his right arm and leg, came home a gimping hero, and resumed his courtship of Miss King. Wilhelm, to the family’s relief, was assigned to a headquarters company near Paris, well away from the fighting; he did layout and makeup for the divisional newspaper, Kootie. His postcards were full of anticipation of reaching the city: he spoke of staying on in Europe after the armistice, of traveling to Italy and Greece, perhaps even Egypt, of going forward by going back to the roots and wellsprings of his art. “Back and back until I reach the future,” his last postcard reads, “like Columbus reaching East by sailing West.” On the face, a view of the Louvre, with which he had apparently made some armistice of his own. Before he saw it he was hospitalized by the influenza which swept that year through ruined Europe. A few days later he died. The army’s telegram reached Dorset before his postcard.
After the armistice the coffin was shipped home with others from an army burial ground in France: by troopship to Norfolk, Virginia, thence by Bay Line packet to Baltimore and aboard the Emma Giles to Long Wharf. Grandfather, Karl, Hector, and Konrad took delivery with the stoneyard dray. They stopped at the cutting shed for Grandfather to open the box, briefly, alone, and verify its contents; there were stories of the army’s carelessness in such matters. But “It’s Willy,” he growled when the lid had been rescrewed. They then installed it, closed, in the Good Parlor, among the mock Phidiases, the Barye-style lions, the Easter egg on its stand, to be tersely memorialized for burial.
Andrea King attended the funeral. Hector showed her two versions of her merry face on the cemetery headstones; Karl pretended that Wilhelm had modeled the backside of a third, more nubile cherub upon his memory of a night swimming escapade she had joined them in during their final furlough.
Said pretty Andrea: “You’re a darn tease, Karl.”
“What gets me,” Hector remarked to the company, “is, it’s your immortal one died. You know, Konrad? And your mortal one didn’t.”
“He was a cutter, was Willy,” Konrad agreed. “Where he might’ve got to, it can’t none of us guess.”
Grandfather painfully declared: “Those mountains was his mistake. He could’ve had half our cutting shed for his self.”
Even Karl was moved to say, “I told him. Remember, Heck?”
Presently Hector vowed: “Arm or no arm, I’m going to cut him a proper stone.”
And he began a program as fatefully obstinate as any in the family. All that spring, summer, fall—in fact, intermittently for the next twenty years—in the stoneyard, in what passed for the art room of Dorset High (where since his wounding he did only administration and substitute teaching), and in a whitewashed toolshed behind the Menschhaus, Hector addressed the problem of cutting stone with his good left arm. He would set the chisel for Karl or Grandfather to hold, and swing the mallet himself; he would hold the chisel and try to tell others how to strike. In 1920, he and Andrea married: there were eight in the house until 1927, when Peter was born and Konrad and Rosa moved next door to make room for the new grandchild. He experimented with ingenious jigs, positioning devices, chisel-headed hammers of his own devising. He bound his almost useless right arm to force himself into independence; he even tried to employ his foot as an extra hand. All in vain: it wants two strong arms like Peter’s to shape the rock, and a knowing eye, and a temper of mind—well, different from Ambrose’s, who was born the year this folly made room for a larger.
The year before, in 1929, leukemia fetched Grandmother to lie beside her unmarked son: a simple Vermont granite stone, lettered by the new sandblasting process that was killing the family’s business with easy competition, identifies her grave. Karl suddenly moved out of house and town to lay bricks in Baltimore. Konrad, Rose, and their Easter egg reinstalled themselves, to help everyone deal with Hector’s growing rages. The nation’s economy collapsed. So must the Mensch Memorial Monument Company without Karl’s foremanship: its founder widowed, weary, and deprived of his income from the immigration business; its angel risen to the company of Michael and the others; its mortal mainstay trying in vain to carve high-relief portraits with a left-handed sandblaster, and approaching madness as Ambrose approached birth.
Upon his “cure” and discharge in 1931 from the Eastern Shore Asylum, Hector mounted at his dead twin’s head an unlettered, unpolished, rough-cut stone fresh from the packing case as in the old days, reasoning nicely that unfinished marble was more in keeping anyhow with Wilhelm’s terminal aesthetics. Konrad compared it to the Miller’s Grave in Old Trinity Churchyard at Church Creek, marked by a pair of uninscribed millstones.
Having laid waste without success, en route to this insight, a deal of granite and alabaster, Hector now turned like Bellerophon to laying waste his soul instead, and succeeded quite. He had become principal of Dorset High before his twin obsessions and nine-month “commitment” led to his suspension. Not even Andrea held his jealous furies against him, once they passed; all assumed it was the celebrated “twin business” had deranged him, with which the whole town sympathized. Karl’s exit, nearly everyone agreed, was merely diplomatic; he would return when Hector was himself again, and Hector would reestablish himself with the school board, which had charitably arranged an unpaid furlough instea
d of accepting his resignation. In the meanwhile—and more, one feels, from the frustration of his sculpting than from his passing certainty that he was not his new son’s father—Hector turned, not to alcohol or opium, but to acerbity, dour silence, and melancholia, scarcely less poisonous in the long run; and to business, which, whether or not one has a head for it, may be addictive as morphine, and as deleterious to the moral fiber. To the summer of his death, even after the manpower shortage of World War II returned him to the principalship of Dorset High, Hector’s passion turned from the firm back to his brother’s beloved marble, and back to the firm again; and he ruined both, but would abandon neither.
Yet most obstinate of all is brother Peter, because more single-minded. Not that he resembles the family (excepting Karl) in other respects. Short and thick where they are tall and lean, black and curly where they are blond and straight, slow of wit, speech, movement where they are quick, devoid equally of humor and its sister, guile—how did the genes that fashion Mensches fashion him? As probable as that a potato should sprout on their scuppernong arbor, or that the wisteria, gorgeous strangler of their porch, should give out one May a single rose.
“Our foundling,” Andrea called him, before such jokes lost their humor. And wouldn’t he stammer when that lovely indolent bade him sit and talk upon the couch whence she directed the Menschhaus! Wouldn’t he redden when she questioned him with a smile about imaginary girl friends! Go giddy at the smell of lilac powder and cologne (which Ambrose can summon to his nostrils yet), and at the kiss-cool silk of her robe! And if, best sport of all, she held his head against her breast, stroked those curls so blacker by contrast, and sang in her unmelodious croon “When I Grow Too Old to Dream,” wouldn’t the tears come! Aunt Rosa would reprove her to no avail; Hector and Konrad would shake their heads and smile in a worldly way; Grandfather’s chuckles would grow rattlier and more thick until they burst into gunshot hocks of phlegm, and he would blow his great nose, he would wind his great pocketwatch with vigor to recompose himself.
“So kiss me, my sweet,
And then let us part;
And when I grow too old to dream,
That kiss will live in my heart.”
Unthinkable prospect! Ambrose too would laugh until his jaw hinge ached and the belly muscles knotted; laugh and weep together at his brother’s misery, who longed to run but must embrace his adored tormentor. Her tease never worked with Ambrose: he would stiffen in her arms, tickle her ribs, mimic her words—anything not to amuse the company at cost of his dignity. But with Peter it never failed: even when he was in high school, vowing like his Uncle Karl to drop out and work full-time at the stoneyard, she could make him cry with that song for the sport of it, break him down entirely—then turn upon her audience for being entertained and declare, “Peter’s the only one loves me. He’s got a heart, he has.” Or, about as often, would push him away, almost recoil in mid-refrain as though from some near-human pet with whom she’d been disporting, and scold him for mussing her dress.
Ambrose, finally: is there a thing to him besides this familiar tenacity? Persistent amateur, novice human: much given to sloth and revery; full of intuition and odd speculation; ignorant of his fellows, canny of himself; moderately learned, immoderately harassed by dreams; despairing of his powers; stunned by history—and above all, dumbly dogged. His head holds but one idea at a time: be it never so dull and simple he can’t dismiss it for another but must tinker at it, abandon and return to it, nick and scratch and chip away until at last by sheer persistence he frets it into something fanciful, perhaps bizarre, anyhow done with.
Thus these Mensches.
F
For a time, though centered in a baby lying on the front-porch glider, A. was also what he compassed. How describe this. If for instance I declare that through a breathless August forenoon a cottonwood poplar whispered from the dooryard, dandled its leaves on squozen petioles when not a maple stirred, you’ll see past that syntax? Tree and baby were not then two unless in the manner of mouth and ear: he in the poplar addressed to him in the glider not truths but signs. Coded reassurances. Recognitions.
Ambrose ranged from crab to goat. Upon a wicker porch-chair, in shallow boxes seaweed-lined, olive soft crabs were stacked edgewise like crullers in a tray. One peered at A. from eyestalks; crab and baby bubbled each a froth, but as right and left hands may play together separately: one performer, one performance. Baby could not yet turn to see what bleated from a backyard pen, nor needed to. In those days crab did not leave off and goat begin: that odored nan, her milk, the child who throve upon it were continuous; Ambrose was not separate from things. Whisper, bubble, bleat made one music against a ground-sound at once immediate and remote: pulse of his blood, hum of his head, chop of his river, buzz of his bees, traffic on all his streets and waterways. Panambrosia. It was his lullaby, too; did it end when Ambrose slept?
That name was his first word: it meant everything. “Say Mama, Ambrose. Mah-mah?”
“Ah-bo.”
“There, he said it.”
“In Plattdeutsch yet.”
“O, did he tease the baby boy! Who’s this, Ambrose? Say Grandpa.”
“Ah-bo.”
Peter, four, taught him otherwise, with the aid of Aunt Rosa’s egg and their mother’s hand mirror, both smuggled one afternoon into the place where Ambrose napped. Egg was held briefly to baby’s eye; Ambrose became a green and rivered landscape which would with the cry “Peter!” give way to grinning brother’s face.
“Ah-bo.”
“Not Ambrose. Peter! Here’s Ambrose…” The green landscape would envelop all once more, give way now to the reflection of its viewer’s face in the hand mirror. “Ambrose!”
“Ah-bo.”
Laughter and laughter. Egg again then; again the earlier face.
“Peter!”
“Ah-bo.”
They played so until teacher, losing patience, found a forcefuller demonstration: went behind the crib head as if for hide-and-seek, and upon next removal of the egg, presented his own face upside down.
“Peter!” that strange countenance demanded. “Peter Peter Peter Peter!”
Family history maintains it was some antic mugging of Peter’s, together with his scolding tone, frightened Ambrose. How so, when it had been his custom to amuse with every noise and grimace he could achieve? No, the mere inversion of features was no matter: right side up, upside down, Ambrose knew that face and called it by his all-purpose name. What it was, it was the eyes, that they seemed not inverted at all; it was that those eyes were right side up still in Peter’s face and were hence not any eyes one knew! Something alien peered out from Peter’s head; independent of eyebrows, nose, mouth, those eyes watched neutrally, as through a mask, or through peepholes from another world.
Tears dissolved all forms together. Ambrose’s shriek fetched grown-ups from below: Peter hugged his brother at once through the crib bars and joined the wail. Mirror and Easter egg were rescued, teacher was spanked, pupil comforted—who is said to have called Peter Peter from that hour.
As for the eyes. Whoso once feels that he has seen and been seen by them does not forget those eyes; which however, like certain guests we nourish with our substance, may be in time’s unfolding concealed or manifest, acknowledged or abjured.
Thus was altered Ambrose’s initial view of things, and thus he came to call by the name Ambrose not his brother, his mother, or his nanny goat, nor yet (in time) his foot, his voice, or his port-wine mark: only his self, which was held to be none of these, indeed to be nothing Ambrose’s, but solely Ambrose.
What the infant learns in tears, adult suffering must unteach. Did it hurt you, reader, to be born? Dying will be no picnic either.
G
Great good that lesson did: he was called everything but Ambrose!
Dear Yrs. T. and Milady A.: the rest of G, together with all of H and I, are missing from this recension of Arthur Morton King’s Menschgeschichte, having been given years ago
as aforetold to your Litt.D. nominee. G came to light as a first-person piece called “Ambrose His Mark”; H first saw print as the story “Water-Message”; I (in my draft but a bare-bones sketch) was fancifully elaborated into the central and title story of B’s Lost in the Funhouse series, where the others rejoin it to make an “Ambrose sequence.”
G is the story of my naming. “Owing to the hectic circumstances of my birth,” the published version begins, “for some months I had no proper name whatever.” Those circumstances themselves are referred to only in passing: “… Hector’s notion that someone other than himself had fathered me; his mad invasion of the delivery room; his wild assertion, as they carried him off (to the Eastern Shore Asylum), that the port-wine stain near my eye was a devil’s mark…” et cetera. Uncle Karl’s withdrawal to Baltimore is discreetly mentioned, and Andrea’s sultry frowardness: “… a photograph made by Uncle Konrad… shows her posed before our Tokay vines, her pretty head thrown back, scarfed and earringed like a gypsy; her eyes are closed, her mouth laughs gaily behind her cigarette; one hand holds a cup of coffee, the other steadies a scowling infant on her hip.” It is alleged that given Hector’s absence and her capriciousness, no name was chosen, and faute de mieux Aunt Rosa’s nickname for me, Honig, became my working title, so to speak, until the great event that climaxes the story.
Grandfather covets the bee swarms of our neighbor Willy Erdmann, who also seems to have had an interest in my mother. He builds an empty beehive near where our lot joins Erdmann’s, and installs Andrea in a hammock there to nurse me and to watch for a migrant swarm. Apiary lore and tribal naming customs are laid on, via Uncle Konrad; the family’s straitened circumstances during the Great Depression and the near failure of the firm are sketched in too. Willy Erdmann fumes at Grandfather’s clear intention to rustle his bees; stratagems and counterstratagems are resorted to, while I suck busily in the hammock and Andrea works the crossword puzzles in the New York Times. At last, on a still June Sunday, the long-awaited swarm appears, and slapstick catastrophe ensues: Grandfather bangs pie tins to draw the bees his way; Willy Erdmann fires a shotgun to attract them himward (and to warn off would-be poachers). Grandfather counters with a spray from the garden hose; Willy replies with a brandished bee-bob. Konrad and Rosa stand by transfixed; Peter bawls in terror; Andrea swoons.
