Paris Stories (2 page)

“Writers, I suppose, are like children imagining,” Mavis Gallant writes. And in a way what we have in her work is something of a child’s strange clarity towards this shadowy, complex world that she is witness to. She studies her characters’ behavior with gall, curiosity, with the toughness of a child looking at and studying adults. What results is a wonderful truth and, at the same time,
great self-revelation. Many stories suggest a mask or portrait of the artist, or a persona active in the world out there, somewhat the way a writer like Patricia Highsmith invented the amoral Ripley and allowed him action (deceit, bribery, murder, forgery, good restaurant behavior, casual sex), while she herself resided in her small house in Switzerland. This is how writers spin, this is how a self-portrait can be paradoxically achieved by self-effacement. Henry James could turn a
donnée
heard at the dinner table over in his hands and create the intricate choreography of
What Maisie Knew
. Gallant, one suspects, similarly sees and meets people and then invents what becomes a precise landscape of their world. There is no vanity or self-aggrandizement in her process and the portraits are always tough as well as generous. For instance her satire is sharp in “The Ice Wagon Going Down the Street,” and yet she will take us beyond that satire to feel compassion for a character we would never have believed could be sympathetic. The tenderness does not replace or override the earlier portrait, Peter is still pathetic, but now there is that one moment where something happened, where the man’s awareness of human nature was suddenly profound.

In any case Gallant always surprises us, never bothering with the dramatically obvious. Thus in “Ice Wagon” the possible adultery by the wife is ignored, is
not
the point of that story. These are stories in which you sense a great freedom of creation, the next sentence can bring a complete shift of tone or content, while a quick aside can include whole lives—sometimes halfway through one person’s thought you will get another’s history. As a writer Gallant seems beholden to no one. And for such a serious writer, one who can be dark and misanthropic, it is remarkable to see how many of her stories are gently and continually funny, even abundant with farce.

In one of the more recent stories in this collection, “Scarves, Beads, Sandals,” we see Gallant in her prime, the prose moving at a brisk trot, but somehow still relaxed, utterly casual. Stray thoughts leap from paragraph to paragraph. Does Theo look like Max Ernst or Braque to his ex-wife’s new husband, or is it Balthus? And this minor refrain continues to resurface in an off-hand way throughout the tale. The story also has that most remarkable of
Gallant’s qualities—which is the ability to slip or drop into the thought processes of minor characters, without any evident signaling of literary machinery. And there is also a rare narrative intimacy where the mind of the central female character, Mathilde, at times merges with (possibly) something close to the voice of the narrator
outside
the story. But one could equally be persuaded by a similar intimacy with the ex-husband’s memories, or even the wandering thoughts of Henri Grippes in the story “In Plain Sight.” Gallant’s craft and empathy, with that skill in evoking subtle and obsessive voices, is always ahead of us. She has, after all, what she claims Yourcenar had, “a reflective alliance.”

“I had a great, great fear that I was bent on doing something for which I have no ability, and that took years and years to get rid of … that I was dedicating my life to something I was not fit for,” Gallant once told an interviewer. With some writers greatness emerges out of their very tentativeness, their own uncertainty about how they make stories, or if it is even possible to make them. It results perhaps in every word and line being tested for falseness or complacency. It results too in a kind of testing, self-critical humor that lies within the text. “I am uncertain about every line I write and I am uncertain until I get readers.” With the arrival of that reader, the uncertainty about “an unsafe life” becomes a shared witnessing. This, for a very few writers, becomes the purpose and meaning of a writer’s life. “Like every other form of art,” Mavis Gallant has written, “literature is no more and nothing less than a matter of life and death.”

— M
ICHAEL
O
NDAATJE

N
OW THAT
they are out of world affairs and back where they started, Peter Frazier’s wife says, “Everybody else did well in the international thing except us.”

“You have to be crooked,” he tells her.

“Or smart. Pity we weren’t.”

It is Sunday morning. They sit in the kitchen, drinking their coffee, slowly, remembering the past. They say the names of people as if they were magic. Peter thinks, Agnes Brusen, but there are hundreds of other names. As a private married joke, Peter and Sheilah wear the silk dressing gowns they bought in Hong Kong. Each thinks the other a peacock, rather splendid, but they pretend the dressing gowns are silly and worn in fun.

Peter and Sheilah and their two daughters, Sandra and Jennifer, are visiting Peter’s unmarried sister, Lucille. They have been Lucille’s guests seventeen weeks, ever since they returned to Toronto from the Far East. Their big old steamer trunk blocks a corner of the kitchen, making a problem of the refrigerator door; but even Lucille says the trunk may as well stay where it is, for the present. The Fraziers’ future is so unsettled; everything is still in the air.

Lucille has given her bedroom to her two nieces, and sleeps on a camp cot in the hall. The parents have the living-room divan. They have no privileges here; they sleep after Lucille has seen the last television show that interests her. In the hall closet their clothes are crushed by winter overcoats. They know they are being judged for the first time. Sandra and Jennifer are waiting for Sheilah and Peter to decide. They are waiting to learn where these
exotic parents will fly to next. What sort of climate will Sheilah consider? What job will Peter consent to accept? When the parents are ready, the children will make a decision of their own. It is just possible that Sandra and Jennifer will choose to stay with their aunt.

The peacock parents are watched by wrens. Lucille and her nieces are much the same—sandy-colored, proudly plain. Neither of the girls has the father’s insouciance or the mother’s appearance—her height, her carriage, her thick hair and sky-blue eyes. The children are more cautious than their parents; more Canadian. When they saw their aunt’s apartment they had been away from Canada nine years, ever since they were two and four; and Jennifer, the elder, said, “Well, now we’re home.” Her voice is nasal and flat. Where did she learn that voice? And why should this be home? Peter’s answer to anything about his mystifying children is, “It must be in the blood.”

On Sunday morning Lucille takes her nieces to church. It seems to be the only condition she imposes on her relations: The children must be decent. The girls go willingly, with their new hats and purses and gloves and coral bracelets and strings of pearls. The parents, ramshackle, sleepy, dim in the brain because it is Sunday, sit down to their coffee and privacy and talk of the past.

“We weren’t crooked,” says Peter. “We weren’t even smart.”

Sheilah’s head bobs up; she is no drowner. It is wrong to say they have nothing to show for time. Sheilah has the Balenciaga. It is a black afternoon dress, stiff and boned at the waist, long for the fashions of now, but neither Sheilah nor Peter would change a thread. The Balenciaga is their talisman, their treasure; and after they remember it they touch hands and think that the years are not behind them but hazy and marvelous and still to be lived.

The first place they went to was Paris. In the early fifties the pick of the international jobs was there. Peter had inherited the last scrap of money he knew he was ever likely to see, and it was enough to get them over: Sheilah and Peter and the babies and the steamer trunk. To their joy and astonishment they had money in the bank. They said to each other, “It should last a year.” Peter was fastidious about the new job; he hadn’t come all this distance
to accept just anything. In Paris he met Hugh Taylor, who was earning enough smuggling gasoline to keep his wife in Paris and a girl in Rome. That impressed Peter, because he remembered Taylor as a sour scholarship student without the slightest talent for life. Taylor had a job, of course. He hadn’t said to himself, I’ll go over to Europe and smuggle gasoline. It gave Peter an idea; he saw the shape of things. First you catch your fish. Later, at an international party, he met Johnny Hertzberg, who told him Germany was the place. Hertzberg said that anyone who came out of Germany broke now was too stupid to be here, and deserved to be back home at a desk. Peter nodded, as if he had already thought of that. He began to think about Germany. Paris was fine for a holiday, but it had been picked clean. Yes, Germany. His money was running low. He thought about Germany quite a lot.

That winter was moist and delicate; so fragile that they daren’t speak of it now. There seemed to be plenty of everything and plenty of time. They were living the dream of a marriage, the fabric uncut, nothing slashed or spoiled. All winter they spent their money, and went to parties, and talked about Peter’s future job. It lasted four months. They spent their money, lived in the future, and were never as happy again.

After four months they were suddenly moved away from Paris, but not to Germany—to Geneva. Peter thinks it was because of the incident at the Trudeau wedding at the Ritz. Paul Trudeau was a French-Canadian Peter had known at school and in the Navy. Trudeau had turned into a snob, proud of his career and his Paris connections. He tried to make the difference felt, but Peter thought the difference was only for strangers. At the wedding reception Peter lay down on the floor and said he was dead. He held a white azalea in a brass pot on his chest, and sang, “Oh, hear us when we cry to Thee for those in peril on the sea.” Sheilah bent over him and said, “Peter, darling, get up. Pete, listen, every single person who can do something for you is in this room. If you love me, you’ll get up.”

“I do love you,” he said, ready to engage in a serious conversation. “She’s so beautiful,” he told a second face. “She’s nearly as tall as I am. She was a model in London. I met her over in London in the war. I met her there in the war.” He lay on his back with
the azalea on his chest, explaining their history. A waiter took the brass pot away, and after Peter had been hauled to his feet he knocked the waiter down. Trudeau’s bride, who was freshly out of an Ursuline convent, became hysterical; and even though Paul Trudeau and Peter were old acquaintances, Trudeau never spoke to him again. Peter says now that French-Canadians always have that bit of spite. He says Trudeau asked the embassy to interfere. Luckily, back home there were still a few people to whom the name “Frazier” meant something, and it was to these people that Peter appealed. He wrote letters saying that a French-Canadian combine was preventing his getting a decent job, and could anything be done? No one answered directly, but it was clear that what they settled for was exile to Geneva: a season of meditation and remorse, as he explained to Sheilah, and it was managed tactfully, through Lucille. Lucille wrote that a friend of hers, May Fergus, now a secretary in Geneva, had heard about a job. The job was filing pictures in the information service of an international agency in the Palais des Nations. The pay was so-so, but Lucille thought Peter must be getting fed up doing nothing.

Peter often asks his sister now who put her up to it—what important person told her to write that letter suggesting Peter go to Geneva?

“Nobody,” says Lucille. “I mean, nobody in the way
you
mean. I really did have this girl friend working there, and I knew you must be running through your money pretty fast in Paris.”

“It must have been somebody pretty high up,” Peter says. He looks at his sister admiringly, as he has often looked at his wife.

Peter’s wife had loved him in Paris. Whatever she wanted in marriage she found that winter, there. In Geneva, where Peter was a file clerk and they lived in a furnished flat, she pretended they were in Paris and life was still the same. Often, when the children were at supper, she changed as though she and Peter were dining out. She wore the Balenciaga, and put candles on the card table where she and Peter ate their meal. The neckline of the dress was soiled with makeup. Peter remembers her dabbing on the makeup with a wet sponge. He remembers her in the kitchen, in the soiled
Balenciaga, patting on the makeup with a filthy sponge. Behind her, at the kitchen table, Sandra and Jennifer, in buttonless pajamas and bunny slippers, ate their supper of marmalade sandwiches and milk. When the children were asleep, the parents dined solemnly, ritually, Sheilah sitting straight as a queen.

It was a mysterious period of exile, and he had to wait for signs, or signals, to know when he was free to leave. He never saw the job any other way. He forgot he had applied for it. He thought he had been sent to Geneva because of a misdemeanor and had to wait to be released. Nobody pressed him at work. His immediate boss had resigned, and he was alone for months in a room with two desks. He read the
Herald Tribune
, and tried to discover how things were here—how the others ran their lives on the pay they were officially getting. But it was a closed conspiracy. He was not dealing with adventurers now but civil servants waiting for pension day. No one ever answered his questions. They pretended to think his questions were a form of wit. His only solace in exile was the few happy weekends he had in the late spring and early summer. He had met another old acquaintance, Mike Burleigh. Mike was a serious liberal who had married a serious heiress. The Burleighs had two guest lists. The first was composed of stuffy people they felt obliged to entertain, while the second was made up of their real friends, the friends they wanted. The real friends strove hard to become stuffy and dull and thus achieve the first guest list, but few succeeded. Peter went on the first list straightaway. Possibly Mike didn’t understand, at the beginning, why Peter was pretending to be a file clerk. Peter had such an air—he might have been sent by a universal inspector to see how things in Geneva were being run.