Mavis Gallant - The Selected Stories of Mavis Gallant

Much of Gabriel’s waking time was now spent like this, too — not idly, but immersed in the present moment.

Soon after the Yom Kippur War, a notice had been posted in La Méduse: OWING TO THE ECONOMIC SITUATION NO ONE MAY SIT FOR MORE THAN THIRTY MINUTES OVER A SINGLE ORDER. The management had no legal means of enforcing this; still the notice hung there, a symptom of a new harshness, the sourness engendered by the decline.

“That sign was the end of life as we knew it in the sixties,” said Dieter Pohl. He was a colonel now, and as fussy as a monarch at a review about a badge misplaced or a button undone. Gabriel had no equivalent staircase to climb; who ever has heard of a victim’s being promoted? Still, he had acquired a variety of victim experiences. Gabriel had been shot, stoned, drowned, suffocated, and marked off for hanging; had been insulted and betrayed; had been shoved aboard trains and dragged out of them; had been flung from the back of a truck with such accidental violence that he had broken his collarbone. His demise, seen by millions of people, some eating their dinner, was still needed in order to give a push to the old dishonorable plot — told ever more simply now, like a fable — while Dieter’s fate was still part of its moral.

On this repeated game of death and consequences Dieter’s seniority depended. He told Gabriel that the French would be bored with entertainment based on the Occupation by about 1982; by that time he would have been made a general at least once, and would have saved up enough money to buy a business of some kind in his native town.

He often spoke as if the parting were imminent, though he was still only a colonel: “Our biographies are not the same, and you are a real actor, who took lessons, and a real soldier, who fought in a real war. But look at the result — we ended up in the same place, doing the same work, sitting at the same table. Years and years without a disagreement. It is a male situation. Women would never be capable of such a thing.”

Gabriel supposed Dieter to mean that women, inclined by nature to quick offense and unending grudges, were not gifted for loyal friendship. Perhaps it was true, but it seemed incomplete. Even the most solitary of the women he could observe — the poets’ widows, for instance, with their crocheted berets, their mysterious shopping bags, their fat, waddling dogs — did not cluster together like anxious pigeons on the pretext of friendship. Each one came in alone and sat by herself, reading whatever fascinating stuff she could root out of the shopping bag, staring at strangers with ever-fresh interest, sometimes making comments about them aloud.

A woman can always get some practical use from a torn-up life, Gabriel decided. She likes mending and patching it, making sure the edges are straight. She spreads the last shred out and takes its measure: “What can I do with this remnant? How long does it need to last?” A man puts on his life ready-made. If it doesn’t fit, he will try to exchange it for another. Only a fool of a man will try to adjust the sleeves or move the buttons; he doesn’t know how.

Some of the older customers were now prey to unsettling rumors. La Méduse was said to have been sold by its owner, a dour Breton with very small eyes. It would soon be converted to a dry cleaner’s establishment, as part of the smartening-up of Montparnasse. The chairs, the glasses, the thick, grayish cups and saucers, the zinc-covered bar, the neon tubes on the ceiling — sociological artifacts — had been purchased at roaring prices for a museum in Stockholm. It seemed far-fetched to Gabriel but not impossible; the Montparnasse station had been torn down, and a dark ugly tower had been put in its place. He remembered how Briseglace had predicted this.

Gabriel had noticed lately that he was not seeing Paris as it was but the way it had stayed in his mind; he still saw butchers and grocers and pastry shops, when in reality they had become garages and banks. There was a new smell in the air now, metallic and hot. He was changing too. Hunger was drawn to his attention by a feeling of sadness and loss. He breathed without effort. The child-Gabriel had grown still. Occupation films had fallen off a little, but Gabriel had more resources than Dieter. He wore a checked cap and sang the “Internationale”; he was one of a committee bringing bad news to Seneca. He had a summer season playing Flavius in Julius Caesar , and another playing Aston in The Caretaker and the zoo director in The Bedbug . These festivals were staged in working-class suburbs the inhabitants of which had left for the Côte d’Azur. During one of those summers La Méduse changed hands, shut for three months, and opened with rows of booths, automobile seats made of imitation leather, orange glass lampshades, and British First World War recruiting posters plastered on the walls. The notice about not sitting for more than thirty minutes had vanished, replaced by an announcement that ice cream and hamburgers could be obtained. Washrooms and telephones were one flight up instead of in the basement; there was someone on hand to receive tips and take messages. At each table was a bill of fare four pages long and a postcard advertising the café, which customers could send to their friends if they wanted to. The card showed a Medusa jellyfish with long eyelashes and a ribbon on its head, smiling out of a tiny screen. Beneath this one could read:

PUB LA MÉDUSE

THE OLDEST AND MOST CELEBRATED

MEETING-PLACE FOR TELEVISION

STARS IN PARIS

Gabriel tried a number of booths before finding one that suited him. Between the automobile seat and a radiator was a space where he could keep magazines. The draft beer was of somewhat lower quality than before. The main difference between the old place and the new one was its smell. For a time he could not identify it. It turned out to be the reek of a chicory drink, the color of boot polish, invented to fight inflation. The addition of sugar made it nauseating, and it was twice as expensive as coffee had ever been.

The Surrender

Dieter heard that a thirteen-hour television project about the Occupation was to be launched in the spring; he had seen the outline.

He said, “For the moment they just need a few people to be deported and to jump off the train.”

Some old-timers heard Dieter say, “They want to deport the Poles,” and some heard, “They are rounding up the foreign-born Socialists,” and others swore he had asked for twelve Jews to be run over by a locomotive.

Dieter wore a new civilian winter costume, a light brown fur-lined winter coat and a Russian cap. He ate roasted chestnuts, which he peeled with his fingernails. They were in a cornucopia made of half a page of Le Quotidien de Paris . In the old Méduse eating out of newspaper would have meant instant expulsion. Dieter spread the paper on Gabriel’s table, sat down, and told him about the film. It would begin with a group of Resistance fighters who were being deported jumping out of a train. Their group would include a coal miner, an anti-Semitic aristocrat, a Communist militant, a peasant with a droll Provençal accent, a long-faced Protestant intellectual, and a priest in doubt about his vocation. Three Jews will be discovered to have jumped or fallen with them: one aged rabbi, one black-market operator, and one anything.

The one anything will be me, Gabriel decided, helping himself to chestnuts. He saw, without Dieter’s needing to describe them, the glaring lights, the dogs straining at their leads, the guards running and blowing whistles, the stalled train, a rainstorm, perhaps.

The aristo will be against taking the extra three men along, Dieter said, but the priest will intercede for them. The miner, or perhaps the black-market man, will stay behind to act as decoy for the dogs while the others all get in a rowboat and make for the maquis. The peasant will turn out to be a British intelligence agent named Scott. The Protestant will fall out of the rowboat; the priest will drown trying to save him; the Communist—