Hazel was smiling and fully in control but staring rather vacantly at the girl Zack had brought home, whom he had introduced to her as a friend he was preparing a sonata with, for an upcoming recital at the Conservatory. Hazel was admiring the beautiful gleaming cello in the girl’s hands, she would ask questions about the instrument, but something was wrong, why were the young people looking at her so oddly? She realized she hadn’t replied. Numbly her lips moved, “Hello, Frieda.”
Frieda! The name was so strangely resonant to her, she felt almost faint.
Realizing that she’d seen this girl before, at the music school. She had even seen the girl with Zack though the two had not been alone together. Following a recital, among a group of young musicians.
It’s her. She’s the one. He is sleeping with her. Is he?
So without warning Zack had brought the girl home with him, Hazel wasn’t prepared. She’d expected him to be secretive, circumspect. Yet here the girl stood before Hazel calling her “Mrs. Gallagher.” Really she was a young woman, twenty years old. Beside her Zack was still a boy, though taller than she was by several inches. And awkward in his body, uncertain. In personal relations Zack had not the zestful agility and grace he had at the piano. He was swiping at his nose now, nervously. He would not look at Hazel, not fully. He was excited, defiant. Gallagher had told Hazel it was the most natural thing in the world for a boy Zack’s age to have a girlfriend, in fact girlfriends, you had to assume that kids were sexually active today as they generally had not been in Hazel’s generation, hell it was fine as long as they took precautions and he’d had a talk (how awkward, Hazel could only imagine) with Zack so there was nothing to worry about.
And so Zack had brought home this bluntly beautiful girl with almond-shaped eyes and rather heavy dark unplucked eyebrows and the most astonishing explosive hair: Frieda Bruegger.
Informing Hazel that they would be performing a Fauré sonata for cello and piano at a Conservatory recital in mid-December. This was the first Hazel had heard of it and did not know how to respond. ( What about the “Appassionata”? What about San Francisco, in eight days?) But Hazel’s opinion was not being sought. The matter had been decided.
“It will be my first recital in that series, Mrs. Gallagher. I’m very nervous!”
Wanting Hazel to share in her excitement, the drama of her young life. And Hazel held back from her, resisting.
Yet Hazel remained in the music room longer than she might have expected. Busying herself with small housewifely tasks: straightening the small pillows on the window seat, opening the venetian blinds wide. The young people talked together earnestly about the sonata, looking through their photocopied sheets of music. Hazel saw that the girl stood rather close to Zack. She smiled frequently, her teeth were large and perfectly white, a small charming gap between the two front teeth. Her skin was beautifully smooth, with a faint burnished cast beneath. Her upper lip was covered in the faintest down. She was so animated! Zack held back from her, just perceptibly. Yet he was amused by her. Zack had several times brought other young musicians home to practice with him, he was a favored piano accompanist at the Conservatory. Possibly the girl was only a friend of his, a classmate. Except less experienced musically than Zack and so she would depend upon his judgment, she would defer to him musically. She brandished her beautiful cello as if it were a simulacrum of herself: her beautiful female body.
Hazel was forgetting the girl’s name. She felt a vague fluttery panic, this was happening too quickly.
For a student at the Conservatory, the girl was provocatively dressed: lime green sweater that fitted her ample breasts tightly, metal-studded jeans that fitted her ample buttocks tightly. She had a nervous mannerism of wetting her lips, breathing through her mouth. Yet she did not seem truly ill-at-ease, rather more self-dramatizing, self-displaying. A rich girl, was she? Something in her manner suggested such a background. She was assured of being cherished. Assured of being admired. On her right wrist she wore an expensive-looking watch. Her hands were not extraordinary for a cellist, rather small, stubby. Not so slender as Zack’s hands. Her nails were plain, filed short. Hazel glanced at her own impeccably polished nails, that matched her coral lipstick…Yet the girl was so young, and suffused with life! Hazel stared and stared lost in wonder.
She heard herself ask if the young people would like something to drink? Cola, coffee…
Politely they declined, no.
The terrible thought came to Hazel They are waiting for me to leave them alone.
Yet she heard herself ask, “This sonata, what is it like? Is it�familiar? Something I’ve heard?”
Frieda was the one to answer, bright and enthusiastic as a schoolgirl: “It’s a beautiful sonata, Mrs. Gallagher. But you probably haven’t heard it, Fauré’s sonatas aren’t very well known. He was old and sick when he wrote it, in 1921, it’s one of his last compositions but you would never guess! Fauré was a true poet, a pure musician. In this sonata there’s a surprise, the way the mood shifts, the ‘funeral theme’ becomes something you wouldn’t expect, almost ethereal, joyous. Like, if you were an old man, and sick, and soon to die, still you could lift yourself out of your body that is failing you…” The girl spoke with such sudden intensity, Hazel felt uneasy.
Why is she talking to me like this, does she believe that I am old? Sick?
As it had been Hazel’s custom to place flowers on the Steinway grand piano in the display window at Zimmerman Brothers, so it was Hazel’s practice to place flowers on the piano in the music room. Zack took no notice of course. In the Gallagher household Zack seemed to take notice of very little, only music fully absorbed him. But his friend would notice the flowers. Already she had noticed. She had noticed the polished hardwood floor, the scattered carpets, the brightly colored pillows arranged on the window seat, the tall windows overlooking the vividly green back lawn where in wet weather (it was raining now, a fine porous mist) the air glowed as if undersea. Brought into the house and led through the downstairs by Zack she would certainly have noticed how beautifully furnished the Gallaghers’ house was. She would go away marveling Zack’s mother is so…
Hazel stood forlorn, uncertain. She knew she should leave the young musicians to their practice but another time she heard herself ask if they needed anything from the kitchen and another time they politely declined no.
As Hazel left, Frieda called after her, “Mrs. Gallagher, thanks! It was so nice to meet you.”
But you will meet me again won’t you? You will.
Yet Hazel lingered outside the door of the music room, waiting for the practice to begin. The cellist tuned her instrument: Zack would be seated at the piano. Hazel felt a pang of envy, hearing the young musicians begin. The cello was so rich, so vivid: Hazel’s favorite instrument, after the piano. She much preferred the cello to the violin. After a few bars, the music ceased. They would return to the beginning. Zack played, the girl listened. Zack spoke. Another time they began the sonata, and another time ceased. And another time began…Hazel listened, fascinated. For here was beauty she could comprehend: not the thunderous cascading of piano notes that left the listener breathless, not the strongly hammered repetitions, the isolation of the great Beethoven sonata but the more subtle, delicately entwined sounds of two instruments. The cello was predominant, the piano rather muted. Or so Zack chose to play it. Twined together, cello and piano. Hazel listened for some time, deeply moved.
She went away. She had work to do. Elsewhere in the house, her own work. But she could not concentrate, away from the music room. She returned, lingering in the hall. Inside, the young musicians were talking together. A girl’s quick robust laughter. A boy’s low-pitched voice. Was the practice over for the day? It was nearing 6 P.M. And when would they practice again? On the other side of the door, the youthful voices were animated, melodic. Zack’s voice was so warmly entwined with the girl’s, they were so at ease together, as if they spoke together often, laughed together. How strange: Zack had become wa
ry with Hazel, guarded and reticent. She was losing him. She had lost him. It was very recent in her memory, when Zack’s voice had changed: his voice that had been a child’s thin high-pitched voice for so long. Even now sometimes it wavered, cracked. He was not yet a man though no longer a boy. Of course, a boy of seventeen is sexually mature. A girl of Frieda’s type, full-bodied, sensual, would have matured sexually at a much younger age. Hazel had not seen her son naked in a very long time nor did she wish to see him naked but she had occasional glimpses of coarse dark hair sprouting in his armpits, she saw that his forearms and legs were covered in dark hairs. The girl would be less of a stranger to Hazel than Zack: for the girl’s body would be known to her, familiar as her own lost girl’s body.
Frieda must have been answering a question of Zack’s, she was speaking now of her family. Her father was an eye surgeon in Buffalo, he’d been born in that city. Her mother had been born in a small German village near the Czechoslovakian border. As a girl she’d been transported to Dachau with all of her family, relatives, neighbors but later she was reassigned to a labor camp in Czechoslovakia, she’d managed to escape with three other Jewish girls, she’d been a “displaced person” after the liberation and she’d emigrated to Palestine and in 1953 she’d emigrated to the United States, aged twenty-five. The Nazis had exterminated all of her family: there was no one remaining. But she had this belief: “There should be some reason why she survived. She really believes it!” Frieda laughed to show that she understood that her mother’s belief was naive, she wished to dissociate herself from it. Zack said, “But there was, Frieda. So that you can play Fauré’s second sonata, and I can accompany you.”
Hazel went away from the music room feeling as if her soul had been annihilated, extinguished.
So lonely!
She could not cry, there was only futility in crying. With no one to witness, a waste of tears.
Made your bed now lie in it.
Made your bed your bed. Now lie in it, you!
The coarse, crude voices of her childhood. The old voices of wisdom.
On the third floor of the house in the sparely furnished attic space that had become Hazel’s private space she hid away like a wounded animal. At this distance she could not hear if the young couple resumed their practice. She could not hear when the girl left. She could not hear if Zack left with her. If he’d called out to her on his way out of the house, she had not heard. If the girl called out to her in that warm penetrating voice Goodbye Mrs. Gallagher! she had not heard.
Never what you’ve told yourself. Never escaped from him. Pa was too smart, and too quick. Pa was too damned strong. Aimed the shotgun at your scrawny girl-chest and pulled the trigger. And that was it. And afterward turning from what lay bleeding and mangled on the bedroom floor like a hunk of butchered meat triumphant his enemies would not subdue and humiliate him another time he reloaded the shotgun that like the console model Motorola radio was one of the astonishing purchases of his American experience awkwardly he turned both barrels on himself and fired and in the aftermath of that terrible blast there was only silence for no witness remained.
Laugh at death. Why not and yet he could not bring himself to laugh.
The earth’s soil was steeped in blood. He knew, before he’d met Frieda Bruegger. He knew of the Nazi death camps, the Final Solution. Seemed already to know what he might spend years learning. Laugh at death was not possible this side of death.
How airy, how ephemeral and trivial music seemed, of all human efforts! Fading into silence even as it’s performed. And you had to work so very hard to perform it, and very likely you would fail in any case.
Revolted by his own vanity. His ridiculous ambition. He would be exposed, on a brightly lighted stage. Like a trained monkey he would perform. Before a panel of “international judges.” He would desecrate music, in the display of his own vanity. As if pianists were racehorses to be pitted against one another, that others might wager on them. There would be a “cash prize” of course.
Six days before they were scheduled to fly to San Francisco he informed the adults who surrounded Zacharias Jones: he wasn’t going.
What a commotion! Through the day the telephone rang, Gallagher was the one to answer.
The young pianist refused to listen to his piano teacher. Refused to listen to other musicians at the Conservatory. Refused to listen even to his stepfather whom he adored who pleaded with him, begged and cajoled and bartered: “This can be your last competition, Zack. If you feel so strongly.”
The young pianist’s mother did not plead with him, however. She knew to keep her distance. Perhaps she was too upset, she avoided speaking with anyone. Oh, the boy knew how to wound his mother! If Hazel had tried to plead with him as Gallagher did, he’d have laughed in her face.
Fuck you. Go play yourself. Think I’m your fucking trained monkey, well I am not.
In this way three days passed. Zack hid away, he was beginning to be ashamed. His decision was coming to seem to him like mere cowardice. The moral revulsion in his soul was coming to seem like mere nerves, stage fright. His face was inflamed. His bowels now spat liquid shit in a scalding cascade. He could not bear his exhausted reflection in any mirror. He could not even speak with Frieda, who had begun by being sympathetic with him but was now not so certain. He had not meant to draw attention to himself. He had meant to remove himself from attention. He had been reading the Hebrew Bible: All is vanity. He had been reading Schopenhauer: Death is a sleep in which individuality is forgotten. He had meant to withdraw himself from the possibility of acclaim and “success” as much as from the possibility of public failure. Now, he was beginning to reconsider his decision. He had tossed something very precious into the dirt, now he must pick it up and wash it off. Maybe it would be better to kill himself after all…
Or he might run away, disappear across the border into Canada.
The Conservatory had not yet notified the organizers of the competition, that Zacharias Jones had decided to drop out. And now he was reconsidering his decision. And there was Gallagher to speak reasonably saying that nobody expected him to win, the honor was in qualifying. “Look, you’ve been playing the Beethoven sonata here for months, so play it out there. What’s the difference, essentially? There is no difference. Except Beethoven composed his music to be heard, right? He kept the ‘Appassionata’ from being published prematurely because he didn’t believe that the world was ready for it yet, but we’re ready for it, kid. So play your heart out. And for Christ’s sake stop moping.”
Taken by surprise, Zack laughed. As usual, Dad was right.
2
In San Francisco the streets shone wetly. So steep, as in an ancient cataclysm. The air was harshly pure, blown inland from the fog-obscured ocean.
And the fog! Outside the windows of their twentieth-floor suite in the San Francisco Pacific Hotel the world had collapsed to a few feet.
The world had collapsed to a gleaming piano keyboard.
“The breath of God.”
It was so. There could be no other explanation. That he’d become at the age of seventeen a young pianist named Zacharias Jones, his thumbnail-sized photograph in the glossy program of the 1974 San Francisco International Piano Competition. And she’d become Hazel Gallagher.
In their hotel suite, a dozen red roses awaited. A cellophane-wrapped wicker basket stuffed with gourmet foods, bottles of white and red wine. They would have laughed wildly together like conspirators except they’d grown wary of each other in recent months. The son had aimed at the mother’s heart, he’d struck a deep stunning blow.
Unknowing, Gallagher had become the mediator between them. He had not the slightest awareness of the tension between mother and son. Nudging Hazel, when they heard Zack whistling in his adjoining hotel room, “Listen! That’s a good sign.”
Hazel did not know if it was a good sign. She, too, had become strangely happy in San Francisco, in the fog. It was a city of wetly gleaming near-vertical streets and qua
intly clamorous “trams.” It was a city utterly new to her and Zack. It had a posthumous feel to it, a sense of calm. The breath of God had blown them here, as whimsically as elsewhere.
Downstairs in the hotel gift shop, Hazel bought a deck of cards.
Alone in the suite she tore the cellophane from the deck and rapidly shuffled the cards and slapped them out onto a glass-topped table facing a window, for a game of solitaire.
So happy, to be alone! Gallagher had badly wanted her to come with him and Zack, to the luncheon honoring the pianists. But Hazel remained behind. On the plane, she’d seen two teenaged girls, sisters, playing double solitaire.
So happy. Not to be Hazel Jones.
“Hazel? Why the hell are you wearing black?”
It was a new dress of softly clinging jersey, graceful folds of cloth at the bodice. Long-sleeved, long-waisted. The skirt fell to mid-calf. She would wear black satin pumps with it. The October night was cool, she would wrap herself in an elegant black wool shawl.
“Shouldn’t I? I thought…”
“No, Hazel. It’s a gorgeous dress but too damned funereal for the occasion. You know how Zack interprets things. Especially coming from you. A little more color, Hazel. Please!”
Gallagher seemed so serious, Hazel gave in. She would wear a cream-colored suit in light wool, with a crimson silk scarf, one of Thaddeus Gallagher’s more practical gifts, tied around her neck. It was all a masquerade.
Outside the tall windows, the fog had cleared. San Francisco emerged at dusk, a city of stalagmites glittering with lights to the horizon. So beautiful! Hazel wondered if she might be forgiven, remaining in the room. Her heart clenched in terror at the prospect of what lay ahead.
“Hey Dad? Come help.”
Zack was having trouble with his black tie. He’d been in and out of his own room, lingering in their bedroom. He had not been very comfortable that day, Gallagher had said. At the luncheon, and afterward. The other pianists were older, more experienced. Several exuded “personality.” Zack had a tendency to withdraw, to appear sullen. He had showered now for the second time that day and he had combed his hair with compulsive neatness. His blemished forehead was mostly hidden by wings of fawn-colored hair. His angular young face shone with a kind of panicked merriment.
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