Ludmilla Petrushevskaya - There Once Lived a Girl Who Seduced Her Sister's Husband, and He Hanged Himself

Unforgettable days rolled by. The happy couple took walks in plain view, ignoring giggles. A.A. successfully campaigned for a transfer to Tamara Leonardovna’s table—he simply moved there, and one of the enraged ladies switched tables in protest. What really bothered the others was Tamara’s age (which they found out from the director’s secretary). She was seventy-five—fourteen years older than he was! It was practically statutory rape, the resort ladies decided. Eventually public opinion ruled that this A.A. was simply looking for a perch, for someone—anyone—to take him in; for what kind of prince charming was he—without hair, teeth, or a roof over his head? Somehow they knew everything about him. A.A. couldn’t keep his voice down to save his life. But Tamara didn’t want to know. When, a week after they left the resort, one of the ladies called to check in on Tamara at home, A.A. picked up the phone. Like small children they were unable to part.

Now they are living together in Tamara’s little apartment, away from prying eyes. A.A. eats regularly, before and after visiting the library. Tamara keeps house, looks after him, complains often but receives no sympathy; the blessed path is thorny. A.A. now owns two writing pads, which Tamara has purchased for him. She wants to have his pension recalculated and to make sure he receives benefits like a free subway pass—he used to beg and fake injuries to be let in.

Tamara’s whole family is up in arms about this cohabitation, especially her nephews, who are terrified that the old fools may marry. They cannot deny, though, that Tamara looks fresher, or that she is full of plans and new energy. For example, she has located that mythical book warehouse and now takes books to nursing homes and hospitals, where people cannot afford them.

At night they squawk to each other about their day. Tamara complains and recites her grievances, and A.A. doles out advice and admonitions like an austere paterfamilias. Then they go to their beds and read, exchanging notes; in the morning they resume their squawking and arguing. Who knows why this A.A. screams so much—he may be scared of losing her, of finding himself back in the flooded attic.

She refuses to marry him, although she did once kiss his hand when he was prostrate with illness. At night A.A. cries and howls with grief, but in the morning he plays boss again, and Tamara, barely awake, hurries with his eggs. He continues to show up uninvited at people’s houses, but now he holds himself more assertively and makes frequent allusions to his wife, “so-called Tamara,” and her undefended thesis on Charles Dickens.

Eggs is the luxury that graces their breakfast table the first three days after pension, but A.A. is shaved and dressed in everything clean, and Tamara walks around in practically new winter boots that A.A. fished out from a Dumpster. A.A. often criticizes her appearance: “So-called Tamara, go fix your hair!” Tamara crawls around her little apartment, always thinking about the next meal for this parasite. Where did he come from, helpless like all parasites and parasitic like all helpless people? And yet he criticizes and instructs, while she has no strength left to look after him. At the end of the day she drags herself to the food market to pick up from the floor squashed veggies and fruit for his dinner. She feels ashamed in the presence of some imaginary friends and nemeses, but she does have a justification: a certain old photo, the holiest of her secrets.

In the evening he comes home, gobbles down her vegetable stew in a second, and starts flailing his arms again, this time thrashing the very personage whose bibliography or biography he’s been putting together for ten years. The man was a fraud, it turns out, and Tamara says, “I told you so,” and they squawk some more and then watch television, exchanging acerbic comments.

That night he cannot stay asleep. He wakes up in tears. Tamara Leonardovna tucks him in and blows on his bald forehead, as she would have done for her baby if he had lived. And now for Tamara’s secret: she never believed the baby had died at birth! No, you see, here was her son, with an altered date of birth; he was back to sleep. There is a photo of him , the baby’s father, that she once thought she’d destroyed. It turned up mysteriously in the folder with her yellowing thesis. It’s the same face as A.A.’s, only younger.

She holds out the photo with a trembling hand, but he pushes it away: “What does that have to do with me? What’s wrong with you? Look at the date: I wasn’t even born yet.” He goes back to watching their tiny old television, and she puts away the photo, wanting to say to him, “My little one.”

Amother brought her girl to a sanatorium for sickly children and then left. I was that girl.

The sanatorium overlooked a large pond encircled by an autumnal park, with meadows and paths. The tall trees seemed ablaze with gold and copper; the scent of their falling leaves made the girl dizzy, after the city’s stench. Once upon a time, the sanatorium was a gentleman’s stately manor, with classical pillars, arched ceilings, and upper galleries. The girls’ dormitory, called a dortoir , was once a drawing room with a grand piano.

The revolution had repurposed the estate into a sanatorium and school for proletarian children with tuberculosis. By the time the girl reached fifth grade, of course, all Soviet citizens were proletarians. They lived in crowded, communal apartments, traveled in streetcars packed with commuters, waited in lines for seats in public cafeterias, and so on. (They waited also for bread, potatoes, shoes, and, on rare occasions, a luxury like a winter coat; in communal apartments, workers stood in line to use the bathroom.) A well-regulated line represented fairness. One had only to wait long enough for one’s portion, as, indeed, the girl had waited for her spot at the Forest School—that was the name of the sanatorium.

I cannot describe the girl’s appearance. Appearances cannot reveal inner life, and the girl, who was twelve at the time, carried on a continuous inner monologue, deciding every second—what to say, where to sit, how to answer—with the single purpose of behaving exactly like the other children, to avoid being kicked and shunned. But the girl wasn’t strong enough to control her every step, to be at all times a model of neatness and moderation. She wasn’t strong enough, so she would run through the rainy autumnal park in torn stockings, her mouth flapping open in an excited yelp, simply because, you see, they were playing hide-and-seek. Between classes she’d stampede the hallways, snot-nosed, hair undone, fighting and cawing, what a sight.

The sanatorium expected all students to keep track of their basic belongings. One week into the school term, no one, including the girl, could locate his or her own pens, pencils, erasers. But the girl lost her handkerchief, too, followed by her right mitten, her scarf, and one of her two stockings. (One lies there by the bed; the other, God knows where.) Plus, she was missing one of her rubber boots! Without her boots, she could neither walk through the park’s muddy puddles nor enter the dining hall. In an old boot from her teacher, she dragged herself like a pariah behind everyone in class.

Such was my condition at the very moment I needed to look no worse than the others. There was this boy, Tolik. We were the same age, but he was six inches shorter, and unspeakably beautiful: a chiseled nose surrounded by freckles, thick lashes over starry eyes, his mouth poised for a coy smirk. The girl was too tall for him, but this young god radiated his charm evenly and meaninglessly a hundred yards around like a little nuclear reactor. When he entered the dining hall, the space around his table lit up, and the girl felt a surge of merriment—Tolik’s here!—and Tolik’s eyes would grow larger, as though under a magnifying glass, as he surveyed his kingdom. Heads turned toward him like sunflowers to the sun. The girl felt stabbed in her heart. There was a swelling right above it, the size of a young berry.