A gust rattled the bedroom window and hummed across chimney-tops and died. Go away, my love!
Edith changed out of the green suit into a cherished dingy blue bathrobe. In the bureau mirror she glimpsed her own color and motion. Clear sky-blue eyes would hold that color a lifetime, though the irises would some day blur at the rims, the vision would not remain 20-20, lids would crinkle, brows turn sandy-gray, then white. Grooves in the forehead would deepen, and the brackets at nose and mouth. Red hair must whiten—quickly, one could hope, without streaks. That smoothness from small chin down a slim neck to the collar of Venus with no sag or wrinkle at thirty-one—well. Already crowding her luck a bit there; pretty Ann Doherty, for all her needless dieting, had been starting a tiny double chin at twenty-six. The bathrobe unbelted allowed a gleam of small breasts neat and high, jaunty and delicate, red-tipped like white peonies. Fun for somebody, going to waste—are you listening, bitch in the manger? Her finger tapped the unsmiling woman in the glass, and she was stricken by thought of another face, also far from the conventional norms of beauty.
They used a hood, didn't they, electrodes concealed by an intolerable obscenity of black rubber?
No thought is finished until the thinker dies, then only blotted out, the death rattle a throat-clearing for what's not to be said. Mother, the morphine not helping yet, certain she'd left something on the stove to boil over, couldn't convince her. For thought is action. What's this, Edith? Philosophy A, Radcliffe, Class of '48 and all that?
All the same, she reflected, it is action, and the hell with Plato the Father of Half-Truths. So why wonder that an earlier self becomes a creature of mystery? Where was the cross thin woman who talked sharply to Jim Doherty a few minutes ago? You say: It was one I who thought and acted thus and so; now I am not what I was, but I inherit any continuing good and bad and all responsibility: if I don't clean up after the person I left behind, nobody else will. That was the thorny passage, the truth too easily blurred.
Yet only a few, she thought, could endure the concept of mind-as-motion. By contrast, how apparently solid and comfortable are the absolutes, static symbols, devices of everyday talk to create the illusion of a stillness in time, so that we can draw breath and feel for a moment that we know who we are! In a ship you can stay below, avoid the portholes, ignore the long rise and fall as the vessel encounters a rolling of the sea, and pretend your cabin is a landside thing: fine woodwork, carpet, all that, and if now and then you do feel a throb of engines or tilting of the world, why, Captain God's on the bridge and will see to everything. And yet it doesn't take too much courage to go stand at the bow and discover the wind in your face: a child can do it; a grown-up can recognize the captain as skilled but humanly mortal.
Edith crossed the hall to the studio, where cool light on the drawing table waited like a reminder of courage. She took out Callista's letter, carefully as though the pages were drawings, and the large light handwriting did have some of that quality, Callista's hand refusing to waver at any disturbance of her thought:
Dear Edith:
It was good to be with you, though I was unpleasant, ridding myself of accumulated venom. I can't safely talk in my worst way to anyone else—Cecil is too vulnerable. And I miscalculated, thought we had more time, was about to shut up and hear you (what I wanted above all) but then time up, opportunity gone.
Don't try to cut the red tape for another visit after the trial opens. When I see you now I think too much, in spite of you, of what I may lose. The work, freedom, gaiety, good talk I never heard till I met you. I'd better keep my shell until this is over, I seem to need it. Stay away just because I do cherish you. Dear Edith, I'm sickened to remember how I talked this afternoon—but maybe it won't end the way my present mood says it will. A mood is only part of a journey—you said that to me once, now I keep the words with me.
Cecil came to see me after you left—he looks ill, Edith. Does poor old Mrs. Wilks really do enough about looking after him? Look—I tried to tell him more about Mother and Herb, and the Saturday night uproar with Mother that I described to you. Give him more of that, will you? I made a botch of telling him, I suppose because I love him, my mind wouldn't focus on my own mess. How does it happen (C. let it slip) that Herb is meeting so many of the incidental expenses when I said so damn plain it was to come out of my money from Father's estate? Please try to find out, will you?
I can't think straight any more tonight. I slop off into self-pity, lose track altogether. I don't believe human beings are adequate for this kind of thing, Edith, I know I'm not anyway. You heard me whimper once, only once. Alone, I do a good deal of that, friend, I can't help it—hermit crab's a soft blob of nothing-much inside the borrowed shell. I'm no Latimer sticking his hand in the fire. Not even jailed for a Cause, just want to live. I don't know what love is either, but now and then I wonder if anyone ever knew more about it than I do.
My love to you,
Callista.
II
Terence Mann stopped playing, tense with a dissonance of perplexity. A wrong time and mood for Chopin: his hands had been dull in the C-sharp Minor Impromptu. No music now, but an impulsive sorrow of December wind leaning against the building in the dark. "Callista never cried."