Read an Excerpt
Real People
A Novel
By Alison Lurie OPEN ROAD INTEGRATED MEDIA
Copyright © 1969 Alison Lurie
All rights reserved.
ISBN: 978-1-4532-7118-6
CHAPTER 1
June 29th
At Illyria again. I've got my old room, with the big bay window looking out across the lawn, and the six-foot marble bathtub.
It's very beautiful here—heavenly. Even more so than I remembered. How could I forget? But one does, partially at least. Imprisoned in one's house, on some gritty gray winter day when the children are home from school with colds, it doesn't seem possible there could be such a place anywhere.
It was right to come back here; I had to come, whatever Clark thinks. I tried to explain, and Clark tried to understand, said he understood—but all the same he was irritable and chilly for days before I left, and I know from experience he'll be the same after I get back. Usually he claims I'm imagining things, or that he's depressed for some other reasonable reason, but this time he admitted it.
JANET: You're not cross about that meeting, or Bessie's bleaching your shirts; you're cross because I'm going to Illyria again.
CLARK: Well, naturally. I prefer to have you here.
JANET: But I am here, almost all the time.
CLARK: I'd like you to be here all the time.
If Janet wants a rest, he silently thinks, why can't she rest at home? The children are both in camp all day now, and Bessie can take care of the house. Or if she wants to write stories, why can't she write them at home as she used to?
I don't know why. Only that I can't.
It's not that I don't write, in the dictionary sense. I make notes of conversations and metaphors and ideas for plots until my journal runs over with them; I put sentences on paper and line them up into paragraphs and even pages. Only I can't fit the pages together so that they mean anything; by the time the children come home, my wastebasket is full of interrupted fragments and crumpled false starts. Since the book came out, more than six months ago, I've only managed to finish two very short stories—mere sketches really. And everything I do reminds me of something I've done before. Partly, of course, that's inevitable when one's been in the same place for fifteen years. Our life in Westford is really very uneventful, and most of what there is to be written about I have already written about.
I can't make Clark understand what it's been like for me this spring—that awful stale, weak, frightened feeling that comes over me when I'm shut up in my study, alone with the knife-edged stack of blank white paper, the sharpened yellow pencils, the typewriter holding up its dismembered black bits of words like some elaborate machine of torture. ("Listen, Janet Belle Smith," they all say. "You'd better talk, if you know what's good for you.") Everything in the room looks either threatening or false—even the fresh flowers in my blue enamel teapot, which seem alive but which I know are really dead.
When I try to describe it, Clark thinks I'm just indulging in nervous poetic exaggeration—because obviously, if it really bothered me that much, I would stay out of the study. ("I don't understand why you feel you have to keep on writing stories," he said once, when I was particularly and conspicuously miserable. "It seems to cause you mainly discomfort.")
And my belief that if I could only get back to Illyria, to this room, things would begin to go right again, has always been incomprehensible to Clark, who can work anywhere (I've seen him open his briefcase and study papers from the office while eating breakfast, in taxis, on lurching crowded trains). Besides, he has never quite believed that people actually work here. First, because it looks like the most elegant sort of private hotel; and second, because writing stories or painting pictures simply isn't what he thinks of as work. Being an insurance executive is a serious occupation; writing only a hobby (like the weekends he takes off sometimes to go bird-watching with those people from Yale). An eccentric hobby; and in the long run rather an irritating one for a businessman's wife in a provincial city.
As for my idea that I can practice this hobby better in one room than another, he thinks that a pitiful illusion—and at times this spring I've been so low I almost acquiesced. But I don't now.
Perfect weather. But the weather's always perfect here: sun, rain, fog, wind, frost—they're all becoming to Illyria. Still, it's at its most characteristic best on a day like this. The sky sky-blue, light falling in abstract expressionist patterns through the pine branches, a slight breeze. Actually, it's not so much Heaven (which is intellectual and unimaginable) as a sort of Eden, where all practical problems and responsibilities have vanished.
And it's so wonderfully quiet. At home, there's always the telephone and the doorbell—Bessie will answer, but of course I hear the ring and wonder who it is. And whenever I raise my eyes, I notice something I ought to do something about: smudges on the wallpaper, that peculiar bill from the cleaners ... Or I start worrying about Bessie's bad back that she won't see the doctor for, Clarkie's troubles in school, and Clary's sulks and rudeness at home. Or Clark's sick headaches, which he saw the doctor for but still unaccountably has ... If I look out the window, I don't see a view; instead I'm reminded that the garage will need repainting soon, I must call White's Nursery about spraying the fruit trees, and we've simply got to have the Hodgdens over to dinner. And when I look back at my story, it's fallen apart again. I suppose the wonder really is not that I've had so much trouble working in Westford, but that I've been able to work there at all.
Haven't seen Caroline Kent or any of the other guests yet. A man who introduced himself as "Charlie Baxter" met me at the Lodge. He's taking Paula's place while she has six weeks' vacation in Europe. Illyria without Paula—impossible! I thought, and he may have intuited, for he began at once apologizing for his inexpertness as a guide, while I kept assuring him that on my third visit I didn't need one. He's agreeable, personable even (forty-seven or forty-eight? tall and slim, blond forelock going gray). But there's something familiar, and indefinably sad, about him. Literary failure, perhaps? "You won't have seen any of my recent stuff; it's poetry mostly," he insisted, smiling. Indeed, I hadn't, that I can recall.
Charlie Baxter reported that Paula is enjoying the art and architecture abroad, but "very homesick." Of course this is her home, and has been for twenty years. I remember her out at the pool last summer telling Kenneth and me how awful it was to be away from Illyria.
PAULA: At first it's such a relief not to have to worry about fire, or whether one of the help will get sick, or some new guest will turn out to be an alcoholic. (Well, I don't really mind so much about the alcoholics; I say to myself, "Poor dear, he's a good artist all the same.") I'm almost glad to go; but when I get to New York, or even Boston, it's dreadful. So noisy, and so dirty. I look at the faces on the street or in the subway, and they're all unhappy and angry. And I think, well, no wonder, living there. Usually after about a week I can't bear it any more. I have to come back here, where people are normal.
STORY IDEA: Paula in N.Y. Like a character out of some nineteenth-century utopian novel, time-machined into this century, rightly appalled. But then one would have to describe Illyria. Or some equivalent place—what? No. There's only one Illyria, and though it's a wonderful subject, nobody will ever write about it. Because if they do (as Caroline Kent has somehow made clear), they can never come back.
It's true, people are nicer here. Released from the strains of ordinary life—domestic anxieties and irritations; financial, social, and emotional competition—they relax and bloom like flowers. Everyone becomes gentler, more open to new ideas. (Rosemarie Beck: "You see them the first day at dinner: suspicious, defensive, tight. Within twenty-four hours all that's gone.")
Of course people's characters can only be improved relatively. There are a few who even at Illyria become merely tolerable. While others, already likable, take on amazing sweetness and charm. Even Paula, who prefers to think the best of everyone, recognizes the distinction, and speaks of her favorites as Lovely People. ("Kenneth's a Lovely Person," or, sometimes, "... a Real Person.") And she's literally right. At Illyria one becomes one's real self, the person one would be in a decent world.
AFTER SUPPER
It was a little hard having to go down to dinner alone tonight—the first time at Illyria that Kenneth hasn't been here. Of course, two years ago I didn't know Kenneth, or anybody. I hovered nervously in the hall upstairs, waiting for the gong to sound, among lamps and tables overdressed in fringed silk (wondering if I was overdressed), while three or four people passed through with only cool glances of curiosity. But Kenneth stopped when he saw me; he smiled, came over, and introduced himself. In a few moments I felt I had known him for weeks.
Kenneth won't be here until tomorrow, though, and I had to descend the grand staircase under the stained glass window alone. (Carson McCullers, I've heard, once hid in her room at dinnertime for almost a week.) There was a crowd of people I didn't know in the hall, from which Caroline Kent, elegant in brocade, detached herself to welcome me, cordially but not comfortingly, and make introductions. "Charlie Baxter. Sally ... something. Though I tried to stop them, the rest of the names passed through my head like jets, with an unintelligible roar. I smiled as well as I could manage, and shook hands.
But then one of the hands turned out to belong to Gerald Grass, the young poet I met on my first visit; and there "was Theodore Berg from last summer; and in a few moments I was sitting between them at Caroline's table, feeling better again.
I'm not as awed now as I was once. The dining room at Illyria is still an impressive place, with its polished dark oak furniture and wainscoting, red brocade wallpaper, crystal chandeliers, and displays of antique silver—and Caroline Kent is an impressive woman. Antique silver hair, red brocade dress, crystal-chandelier voice. And it's not only, or even mainly, that she matches the room. The way she sits in her chair, the motion with which she smoothes the napkin across her knees, suggest unimaginable perfection of control. As Julius Goldstein commented last summer, Caroline probably hasn't put her elbows on the table, or even imagined putting them on the table, for sixty years.
But I know the rules now. One sits at Caroline's table one's first evening here, again on the last evening, and often enough in between to be polite. There's a special style of behavior there—everyone wipes his mouth more often and more tactfully, and takes smaller bites. Above all, there's a special style of conversation: a kind of formal jocularity, lighthearted but (in some hands at least) heavy-handed. I've never heard anything like it outside of Illyria, but I've read it in books—the humorous scenes in Edith Wharton, or early James. There are certain prescribed subjects: local history, geography, botany, and meteorology; and news (but not scandal) of former guests. The names of writers, artists, and musicians who have never been here aren't mentioned.
Partly because Caroline is deaf, so that we must all speak unnaturally loud, this talk has a marked theatrical tone. It's as if we were improvising dialogue to suit the room—trying to echo the witticisms and compliments uttered there fifty or sixty years ago by the painters and poets to whom the Moffats first extended their hospitality. Or possibly it's their spirits who are ventriloquizing through us. Which would account for the fact that, once I've left the dining room, it's a real effort to remember anything we said. (But I suppose it's a good exercise to try.)
TEDDY: You certainly picked the right day to come, Janet. Our own strawberries and shortcake for dessert tonight! Isn't that so, Caroline?
CAROLINE: Yes. That's right.
JANET: Strawberry shortcake, oh my! How did you know?
TEDDY: (winking) I have my methods.
I still play the tune a little artificially; Teddy does it effortlessly, and with apparent enjoyment—but then, he's been coming to Illyria for over twenty years. I like him, though he's rather formidable—the more so because he doesn't at first seem it. To look at, he's a small, fat, unprepossessing elderly man with the face of an effeminate drunken cherub. But the high color is due only to high blood pressure, and Teddy is one of the most famous living American composers.
GERRY: I know what it is. He sneaks around and makes up to Mrs. Akins.
CAROLINE: Oh, I don't think so.
Gerry improvises his dialogue even less well than I, though he looks the part perfectly. Young, very large, and poetically handsome in a Charles Dana Gibson way: noble brow, long curly fair hair and beard—rather like a great golden retriever in a psychedelic paisley shirt and leather vest. Undine Moffat would have adored him, and probably forgiven his stylistic errors more easily than Caroline does. She quite evidently didn't like the suggestion that people might interrogate the help behind her back. Nor did Teddy, who became rather waspish.
TEDDY: I do not. I have an infallible system you couldn't even guess at.
GERRY: I wouldn't want to know. I mean, that takes all the excitement out of it.
Gerry lost his East Village cool, grew a little hot and incoherent as he went on to make a speech in favor of the unexpected in life, with illustrative quotations from his own poems.
GERRY: ... I mean, like, "Flowers exploding. Five-foot monkeys arriving on Greyhound buses." That's what you want.
TEDDY: Very elegantly expressed. From your Wet Dreams, I think?
GERRY: Yeah.
TEDDY: But I believe you've quoted the line wrong. "Five-foot monkeys fucking on Greyhound buses," wasn't it?
GERRY: Uh, yeah.
Gerry's published work is as frank as any modern poet's, which of course is saying a good deal. When I heard him read at Trinity, I think he used every four-letter word there is; and nobody protested. But the social rules on obscenity have been reversed since I was in college. A writer can now print, or declaim in a public hall, lines he would hesitate to utter in ordinary society. While dinner was going on, I was trying to identify the guests at the other tables. (The list in the mail room tells who's coming to Illyria each summer, but not when. Of the twenty or thirty names on it, some may have already left; others won't arrive until after I'm gone myself.) I recognized one of them almost at once. That plain, dowdily dressed, but somehow distinguished older woman, with a roll of gray hair pinned to her head, next to Charlie Baxter—was H. H. Waters! (What luck for me.) With Charlie and Miss Waters were two people I couldn't identify: a pale, intellectual-looking man in his forties; and a muscular younger man with a red shirt, quite attractive, who laughed and moved around a lot. Conversation at this table was lively; I would have liked to be there. The other table was less interesting: only the dark, rather intense-looking girl I met earlier (Sally something) and a stocky young man.
LATER
I went up to my room after supper, feeling so good that I thought I would try to write. But it was too late in a long day, and the warm breeze through the window, the sounds of voices off, kept fluttering the paper in my typewriter distractingly. So, as Teddy had suggested, I joined him on the lawn by the tennis court, where we sat on a rustic bench and watched the end of the croquet game. A scene out of Eakins or Winslow Homer: great pines on all sides; thick turf across which the declining sun cast stripes of gold and green plush; the shiny varnish and bright paint of the croquet mallets and balls; and the four men in their light-colored summer clothes, standing about the lawn in varied attitudes.
The game was more interesting than I'd expected. They've been taking it seriously this summer, and play every evening after supper.
TEDDY: Croquet's become veryvery intense this year. Quite symbolical.
JANET: Symbolical of what?
TEDDY: Oh, everything. Luck in general; male potency, possibly. But mainly artistic success, I think. Of course they do rather get them confused. If you watch for a little while, you can positively see the Muses hovering overhead, favoring first one and then another. Whoever wins is sure they've been working magnificently. Or if they've been working magnificently, they win; I'm not positive which.
Teddy says Gerry has won most often lately, while Charlie Baxter, as I might have guessed, usually loses. Gerry lost tonight, though; and no wonder, considering how Teddy discomfited him at dinner. As I told him—not very successfully. I should have remembered that Teddy Berg, who is known all over the world for his professional patience and generosity, in private life won't bear even the mildest criticism.
(Continues...)
Excerpted from Real People by Alison Lurie. Copyright © 1969 Alison Lurie. Excerpted by permission of OPEN ROAD INTEGRATED MEDIA.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Get Free eBook Sample
