Nadine Gordimer - The Lying Days

It was not spring inside the Aarons’ house. The air of a matured distilled indoor season, an air that had been folded away in cupboards with old newsprint and heavy linen, cooked in ten-years’ pots of favorite foods, burned with the candles of ten-years’ Friday nights, rested in the room with its own sure permeance, reaching every corner of the ceiling, passing into the dimness of passages with the persistence of a faint, perpetual smoke.

Joel was not aware of it as one cannot be aware of the skin-scent of one’s own body; he picked up some circulars that the postman had pushed under the door and threw them onto a chair. The house opened directly into the living room where there was a large dark table with a crocheted lace cloth, high-backed chairs set back against the wall, a great dark sideboard with two oval, convex-glassed pictures above it. A pair of stern, stupid eyes looked out from the smoky beard of an old photograph; the face of a foolish man in the guise of a patriarch. But next to him the high bosom, the high nose that seemed to tighten the whole face, slant the black eyes, came with real presence through a print that seemed to have evaporated from the paper: a woman presided over the room.

Past a green leatherette sofa with shiny portholes for ash trays in the arms, Joel led me through the white archway into the passage. A refrigerator stood against the wall as if in a place of honor; our footsteps were noisy on thin checkered linoleum that outlined the uneven spines of the floor boards beneath it like a shiny skin. In his room, Joel showed the self-conscious busyness that comes upon one in one’s own home. He put out the little rough dog that had been sleeping on the bed, kicked a pair of shoes out of sight, cleared one or two rolls of plans off the table that held his model.

To me the model was a cunning and delightful toy and I exclaimed over it with pleasure. I made him take the miniature ambulance out of its packet and place it under the portico.

“What I’m worried about, you see, is this—” He knew I could not detect the functional pitfalls of his design, yet he hoped for reassurance in itself, even the reassurance of ignorance. I tried to separate my intelligence from my fascination with the perfect little windows, the flower boxes made of cork. “I see. I see …”

He had a way of looking up penetratingly to see if the face of the person to whom he was speaking confirmed his words. It was quick, earnest, almost a request. “I’ll show you, here on the plan — somewhere here—” His long olive-skinned hands unrolled the paper on the bed, we knelt on it together, rumpling the blue taffeta cover that smelled of dog. The plan shot up again like a released blind. He picked it up, blew down it. He said calmly, as if the thing had dwindled to its proper small importance; “Well, there’ll be no problem getting it back again after it’s seen. I’ll take five minutes to break it up.” I protested, but he only smiled at me, swinging a leg. “You might want to look at this,” he said, “and these”—he was pulling books out of an old high case that stood by his bed—”Corbusier, Frank Lloyd Wright — the high priests—”

I bounced his bed. “It’s very soft.” I laughed, looking round. He shrugged, deprecating it. “Feather bed; from Russia. Look, Helen, what do you think about this?” And he brought a book of Danish furniture design to my lap.

I wandered slowly, curiously round his small room as if in a museum. The glossy books on modern architecture and the poetry of Ezra Pound, Yeats and Huxley, paper-backed John Stuart Mill and Renan’s Life of Jesus were stacked on the hand-crocheted mats which were spread on the chest of drawers, the bedside table and the top of the bookcase. A photograph of a school group hung on a brass wire, and a framed address in what looked like oriental characters and must be Hebrew hung at a lower level beside it. On the other wall a modern print had a frame that had evidently belonged to something else, and did not fit it. The only modern painter I had ever heard of was Van Gogh, from a novelized version of his life which I had taken from the Atherton library. “That’s not a Van Gogh, is it?”

“Seurat.”

“Oh.”

A Treasury of Folk Tales for Jewish Boys and Girls, How to Make It, The Wonder Adventure Book —and on top of this battered pile an army cap. It was easy to forget that Joel had been in the army.

“Joel, you’ve never told me, why were you discharged?”

“I got a mastoid and it did something queer to my middle ear. For about a year I couldn’t hear at all.”

I was curious. “Show me how you looked in uniform? — Oh, come on, you must have a picture somewhere?”

He was kneeling next to his model, adjusting something with precision, and the light of the window behind him glowed through his ears and made his teeth shine in contrast to the darkness that blurred the rest of his face. “You laughing in anticipation?”

“It’s the light through your ears — all red. — But put it on, then, if you won’t show me your picture.”

He came forward laughing, with the air of a good-natured dog that allows a ribbon to be put on its collar. “Wait — wait—” I was knighting him with the cap, and his hand, with the short movements of someone searching by touch, was feeling to arrange it, when a hoarse little voice said softly, like a reluctant question: “Joel …”

I turned round.

“No, sit down — you’ll excuse me — I just want to ask something, Joel, d’you know if Daddy’s coming home to lunch or he’s going straight to Colley? He’s coming?” A short round woman stood in the doorway; she held her hands in front of her in the attitude of someone coming for instructions. They were puffy hands with hardened flesh growing up round small, clean but unkempt nails, the ragged-cuticle nails of domestic workers or children. Her body in a cheap silk dress that had the remains of an elaboration of black cotton lace and fagoted trimming round the neck was the incredibly small-hipped, thickened body of Jewish women from certain parts of Europe, the swollen doll’s body from which it seems impossible that tall sons and daughters can, and do, come. The floral pattern of the apron she wore was rubbed away over the bulge of her breasts and her stomach. She looked at me from under the straggling, rather beautiful eyebrows you sometimes see on the faces of eagle-eyed old men, and beneath arches of fine, mauvish, shadowy skin, her lids remained level, half-shuttered. But the eyes were bright, liquid, water-colored.

I knew she must be Joel’s mother and I felt acutely the fact that I was sitting casually on the bed, in the house of strangers. This I felt in relation to her, and to Joel, the embarrassment he must feel at her accent, her whole foreignness before me.

But he answered her: “Colley? — Why should he go there first — Of course he’s coming home.”

At once I was alone and they were both strangers. Something in the way he spoke to her, something he took from her own voice, as one takes a key in music, put me outside of them. I sat very consciously on the bed; what had been unnoticeably comfortable was now precarious: I had to brace my legs to prevent myself from slipping off the coverlet.

I smiled at Mrs. Aaron timidly as if to excuse her to herself. But she did not feel the need to be forgiven; she gave herself time to look at me with frank curiosity, as one might stop to finger a piece of material in a shop. “Joel,” she bridled, “why don’t you bring the young lady into the lounge? Must she sit in the bedroom? — You must excuse him, he doesn’t think.” She drooped her head at him in an appraising, irritated smile. He made a little noise of smiling impatience. “No, it’s not nice she should be stuck in this room — It’s not so beautiful, believe me—” Suddenly she and I were both laughing; as usual, I had deserted, in a desire to be liked had aligned myself in a sudden swift turn with what embarrassed or frightened me. We were led back to the living room, his mother talking on as if he were absent: “It’s always like that. Anybody comes, he hides them away in his room. — Come sit down. Take a comfortable chair—”