Mavis Gallant - The Selected Stories of Mavis Gallant

You remarked that five hundred was a lot for only a room. You had heard of studios going for six. But you did not have six hundred francs or five or even three, and after a while I took back my room and put you in Robert’s, while he continued to sleep on the couch. Then you had no francs at all, and you exchanged beds with Robert, and, as it turned out, occasionally shared one. The arrangement — having you in the living room — never worked: It was hard to get you up in the morning, and the room looked as though five people were using it, all the time. We borrowed a folding bed and set it up at the far end of the hall, behind a screen, but you found the area noisy. The neighbors who lived upstairs used to go away for the weekend, leaving their dog. The concierge took it out twice a day, but the rest of the time it whined and barked, and at night it would scratch the floor. Apparently, this went on right over your head. I loaned you the earplugs my husband had used when his nerves were so bad. You complained that with your ears stopped up you could hear your own pulse beating. Given a choice, you preferred the dog.

I remember saying, “I’m afraid you must think we French are cruel to animals, Mlle. Dias de Corta, but I assure you not everyone is the same.” You protested that you were French, too. I asked if you had a French passport. You said you had never applied for one. “Not even to go and visit your family?” I asked. You replied that the whole family lived in Marseilles. “But where were they born?” I asked. “Where did they come from?” There wasn’t so much talk about European citizenship then. One felt free to wonder.

The couple with the dog moved away sometime in the eighties. Now the apartment is occupied by a woman with long, streaky, brass-colored hair. She wears the same coat, made of fake ocelot, year after year. Some people think the man she lives with is her son. If so, she had him at the age of twelve.

What I want to tell you about has to do with the present and the great joy and astonishment we felt when we saw you in the oven-cleanser commercial last night. It came on just at the end of the eight o’clock news and before the debate on hepatitis. Robert and Anny were having dinner with me, without the children: Anny’s mother had taken them to visit Euro Disney and was keeping them overnight. We had just started dessert — crème brûlée — when I recognized your voice. Robert stopped eating and said to Anny, “It’s Alda. I’m sure it’s Alda.” Your face has changed in some indefinable manner that has nothing to do with time. Your smile seems whiter and wider; your hair is short and has a deep mahogany tint that mature actresses often favor. Mine is still ash blond, swept back, medium long. Alain — the stylist I sent you to, all those years ago — gave it shape and color, once and for all, and I have never tampered with his creation.

Alain often asked for news of you after you vanished, mentioning you affectionately as “the little Carmencita,” searching TV guides and magazines for a sign of your career. He thought you must have changed your name, perhaps to something short and easy to remember. I recall the way you wept and stormed after he cut your hair, saying he had charged two weeks’ rent and cropped it so drastically that there wasn’t a part you could audition for now except Hamlet. Alain retired after selling his salon to a competent and charming woman named Marie-Laure. She is thirty-seven and trying hard to have a baby. Apparently, it is her fault, not the husband’s. They have started her on hormones and I pray for her safety. It must seem strange to you to think of a woman bent on motherhood, but she has financial security with the salon (although she is still paying the bank). The husband is a car-insurance assessor.

The shot of your face at the oven door, seen as though the viewer were actually in the oven, seemed to me original and clever. (Anny said she had seen the same device in a commercial about refrigerators.) I wondered if the oven was a convenient height or if you were crouched on the floor. All we could see of you was your face, and the hand wielding the spray can. Your nails were beautifully lacquered holly red, not a crack or chip. You assured us that the product did not leave a bad smell or seep into food or damage the ozone layer. Just as we had finished taking this in, you were replaced by a picture of bacteria, dead or dying, and the next thing we knew some man was driving you away in a Jaguar, all your household tasks behind you. Every movement of your body seemed to express freedom from care. What I could make out of your forehead, partly obscured by the mahogany-tinted locks, seemed smooth and unlined. It is only justice, for I had a happy childhood and a wonderful husband and a fine son, and I recall some of the things you told Robert about your early years. He was just twenty-two and easily moved to pity.

Anny reminded us of the exact date when we last had seen you: April 24, 1983. It was in the television film about the two friends, “Virginie” and “Camilla,” and how they meet two interesting but very different men and accompany them on a holiday in Cannes. One of the men is a celebrated singer whose wife (not shown) has left him for some egocentric reason (not explained). The other is an architect with political connections. The singer does not know the architect has been using bribery and blackmail to obtain government contracts. Right at the beginning you make a mistake and choose the architect, having rejected the singer because of his social manner, diffident and shy. “Virginie” settles for the singer. It turns out that she has never heard of him and does not know he has sold millions of records. She has been working among the deprived in a remote mountain region, where reception is poor.

Anny found that part of the story hard to believe. As she said, even the most forlorn Alpine villages are equipped for winter tourists, and skiers won’t stay in places where they can’t watch the programs. At any rate, the singer is captivated by “Virginie,” and the two sit in the hotel bar, which is dimly lighted, comparing their views and principles. While this is taking place, you, “Camilla,” are upstairs in a flower-filled suite, making mad love with the architect. Then you and he have a big quarrel, because of his basic indifference to the real world, and you take a bunch of red roses out of a vase and throw them in his face. (I recognized your quick temper.) He brushes a torn leaf from his bare chest and picks up the telephone and says, “Madame is leaving the hotel. Send someone up for her luggage.” In the next scene you are on the edge of a highway trying to get a lift to the airport. The architect has given you your air ticket but nothing for taxis.

Anny and Robert had not been married long, but she knew about you and how much you figured in our memories. She sympathized with your plight and thought it was undeserved. You had shown yourself to be objective and caring and could have been won round (by the architect) with a kind word. She wondered if you were playing your own life and if the incident at Cannes was part of a pattern of behavior. We were unable to say, inasmuch as you had vanished from our lives in the seventies. To me, you seemed not quite right for the part. You looked too quick and intelligent to be standing around with no clothes on, throwing flowers at a naked man, when you could have been putting on a designer dress and going out for dinner. Robert, who had been perfectly silent, said, “Alda was always hard to cast.” It was a remark that must have come out of old café conversations, when he was still seeing actors. I had warned Anny he would be hard to live with. She took him on trust.

My husband took some people on trust, too, and he died disappointed. I once showed you the place on Place d’Italie where our restaurant used to be. After we had to sell it, it became a pizza restaurant, then a health-food store. What it is now I don’t know. When I go by I look the other way. Like you, he picked the wrong person. She was a regular lunchtime customer, as quiet as Anny; her husband did the talking. He seemed to be involved with the construction taking place around the Porte de Choisy and at that end of the avenue. The Chinese were moving into these places as fast as they were available; they kept their promises and paid their bills, and it seemed like a wise investment. Something went wrong. The woman disappeared, and the husband retired to that seaside town in Portugal where all the exiled kings and queens used to live. Portugal is a coincidence: I am not implying any connection with you or your relations or fellow citizens. If we are to create the Europe of the twenty-first century, we must show belief in one another and take our frustrated expectations as they come.