The Box Garden (7 page)

“Well,” he continues, “I didn’t realize it then—it was like a kind of subconscious thing with me—but what I was always thinking about was my car. Like any minute the brake linings were going to need replacing. So I’d be driving along and all the time I’d be listening to some little noise in the engine. My wife used to say I’d get a crick in my neck from bending over listening like that. Every time I heard any knocking in there I’d always automatically think the worst. Like the motor was stripped for sure. Or the carburetor was giving out. I used to have nightmares, honest to God nightmares, about needing four new tires all at once.”

“And did it ever happen?” I ask.

“No. That’s the thing, it never happened like that. Maybe there would be a dirty sparkplug or some two-bit wiring job, and when they told me at the garage that was all it was, I’d break into a sweat. A cold sweat. Well, finally I couldn’t take it anymore. Landed in hospital and I was only forty-three years old. An ulcer. I bled twenty-four hours, they couldn’t stop it. I’m telling you, that makes you think, when something like that happens.”

“I’ll bet,” I agree emphatically.

“So to hell with this, I said. I want to live my life, not worry it away.”

“So you sold your car?”

“That’s exactly what I did. Just called over a secondhand dealer and said, ‘Take it away, I never want to set eyes on it again.’ And the day I sold it was like a stone was rolled off my shoulders. You know what?” He paused. “I was happier that day than the day when I got my first car.”

“And you’re really happier now?” I ask earnestly. I’m not feigning kindness anymore, for I collect, among other things, recipes for happiness. “You really are?”

“You’re darned right,” he said, draining his coffee cup and setting it thoughtfully on the saucer. “So I spend a buck or two on a taxi now and then. And train fares and all the rest. But I’ve got my health, and what’s more important than that? I’m telling you, I didn’t know what happiness was.”

A prescription for contentment. I think of Greta Savage in Vancouver who, for the moment at least, has found a quiet place to store all her missionary longings. And Brother Adam—what did he write me? The only way to be happy is to have no expectations. How fortunate they are to have found their perfect, definable, tailored-to-fit solutions.

And my mother. My mother who achieved, if not happiness, at least a sort of jealous, truncated satisfaction in perpetually revising and reordering her immediate surroundings. All the time my sister and I were growing up, for at least twenty-five years, the main focus of her life was an eccentric passion for home decoration, an enslavement all the more bizarre because of the humbleness of our suburban bungalow, a brick box on a narrow, sandy lot with a concrete stoop, a green awning, and a clothes line at the back.

Always one of the six small rooms was in the process of being ‘done over’, so that we never at any one time in all those years lived in a state of completion. Decorating magazines formed almost the only reading matter in our house, and from those pages, which my mother turned with anxious, hungering fingers, she fanned her fanatical energy. She could do anything. Velvet curtains, swagged and bordered by hand for the living room, were cut up a year later to make throw cushions. She was nothing if not resourceful, for the throw cushions were later picked apart and upholstered onto the dining room chairs. End tables were cut down and patiently refinished. Often wallpaper samples were propped up along the mantle of the imitation fireplace for months at a time before a decision was reached. Her options were limited, of course, by our father’s modest income (he was a clerk in a screw factory). She saved quarters in a pickle jar for two years in order to buy a fake-crystal ceiling fixture for the hall.

She learned to make the most complicated and sheerest of curtains complete with miles of ruffling. She learned to paint, solder, wallpaper, stain and upholster. Several times she rewebbed and covered the armchairs in the livingroom. Mother. A tall woman with a caved-in, shallow chest; she went about the house wearing an old shirt of my father’s over her print house dresses and on her feet, socks and running shoes; her legs, I remember, were a mottled white with clustered purplish, grape-jelly veins at the backs of the knees. Sometimes we would wake up in the morning to find that she was already at work, the dining-room floor covered with drop-cloths, the step ladder set up, and there she tottered, her bush of hair snugged in an “invisible” net, her Scottish jaw set, painting a stenciled cornice around the ceiling. A sea-shell motif in antique ivory.

Her decorating effects were invariably too heavily baroque. Not that I realized this at the time; what I felt in that house was a curious choking pressure as though the walls were being slowly strangled; we were all smothering in layers and layers of airless drapery and plaster. Over the years she showed a tendency toward progressively darker, richer textures. The pine buffet was transformed to walnut, an effect laboriously achieved with the aid of stain and graining tools. In the tiny front hall under the chandelier hung a great, gilded imitation-Italian mirror bought at an auction. Under it was a ‘gossip bench’ painted gold. She ran to luxurious ornamental fabrics, velvets and brocades bought as remnants, and the sumptious effects of tassles and draping. “You don’t need money,” she used to say, “if you have taste.”

Taste. Taste was what the neighbours didn’t have. Taste and imagination. All they ever did, she scoffed, was open the Eaton’s catalogue and order rooms full of mail-order furniture. And if they were short of cash they put up with faded curtains when all they had to do was buy a packet of dye from the chain store. (She herself frequently went on the rampage with dying. Perhaps my great insecurity springs from nothing more serious than the fear that my pink cotton scatter rug might be snatched from me at any minute to reappear later in vivid, startling, foreign purple.) The neighbours didn’t know what taste meant, she said, or were too lazy to make any improvements. All they needed was to get busy and roll up their shirt sleeves. “Just look,” she often sighed, “look what I’ve managed to make of this house.”

Our bedroom, Judith’s and mine, was a vision of contorted femininity. For us she favoured shirred taffeta or dotted swiss, pale chintz or nylon net. I remember one summer morning, perspiration streaming down her face, dark circles staining the arms of her housedress as she knelt on the floor of our stifling bedroom off the kitchen, her lips grim with zeal and full of pins, attaching an intricately ruffled skirt to our dressing table. Once, for wall hangings, she framed squares of black velvet to which she appliquéd (the discovery of applique opened a whole new chapter in her life) stylized ballet figures. A McCall’s pattern, twenty-five cents plus postage. She made us a bedroom lamp from an old, pink perfume bottle from Woolworth’s and covered the shade with white tulle; this was one of her least successful ideas, for the tulle began to smoke one evening while Judith was studying, and our father had to carry it outside to the backyard and spray it with the garden hose. Our mother watched its destruction with a minimum of sorrow, for any sign of wear or tear or obsolescence immediately opened a hole in the house which her furious energies conspired to fill.

Our father: what did he think of it all? He was so silent and laconic a man, so shy, so nervously inarticulate that it was impossible to tell, but he seemed to sense that the compulsive forces of her personality were cosmic manifestations which must not be interfered with; to stop her was to invite danger or disaster. All I can remember is his occasional resigned sigh: “You know your mother and her house,” as once again we were plunged into chaos.

While she was working on a room she was in a state of violent unrest, plagued by insomnia and shocking fits of indigestion. She planned her rooms as carefully as any set designer, bringing into life whole new environments. Finally, as the metamorphosis was nearing completion, she would become almost electrically excited, impatiently dabbing on the last bit of paint, taking the last stitch, and, with breath suspended, unveiling her creation.

Later she would suffer agonies of doubt. Was it in good taste or was there something maybe just a little bit tacky or gawdy about it? That pink vase, was it a little too much accent? Too bright? Too garish a shade? Maybe if she spray-painted it dusty rose, yes. Yes.

No one except a few out-of-town relatives and the occasional neighbour ever witnessed her decorating marvels although she always talked of having something, a tea perhaps—the exact type of entertainment was never decided upon—when she got the whole house organized. Organized! And the telephone on the gilded gossip bench seldom rang; she never used it herself except to phone our father at the screw company to ask him to bring home another half quart of enamel for the kitchen cupboards or to tell him she had a headache from the varnish fumes and could he come straight home after work and get the girls some scrambled eggs for supper, she would just slip off to bed if he didn’t mind.

I never doubted that she loved the house more than she loved us. Our father and Judith and I only impeded her progress as she plunged from one room to the next. Our very presence made the rooms untidy; sitting on the new chintz slipcover we pulled the pattern off-centre, and our school books on the sideboard disturbed the balance of her ornaments. Once I chipped the Chinese blue kitchen cupboards with the broom handle, thus necessitating a frantic search through all the hardware stores in Scarborough for patch-up paint, a search she suddenly abandoned when it was decided that the cupboards should be painted a pale pumpkin to match the striped cafe curtains which she planned to “run up” as soon as she finished gluing on the moulding in the front bedroom.

Suddenly it stopped. Overnight her obsession became a memory, the way she was before she got old. Judith says it was about the time our father died. I think it was a little earlier. It’s been years now since she has made even the slightest alteration to the house. All the upholstery is faded, slightly soiled on the arms, and when I was last there five years ago I actually saw a patch of the old Chinese blue paint in the kitchen showing through the pumpkin. And under that? A scratch of pink? Perhaps.

I don’t know why she stopped. I must ask her when I see her. Casually mention something like, “Remember how interested you used to be in decorating—why is it you don’t do it anymore?”

But of course I won’t actually say anything of the kind. These offhand conversations which I always rehearse in my mind before seeing my mother never materialize because, once in her presence, I freeze back to sullen childhood when all such phenomena were accepted without comment. To question would be to injure the delicate springs of impulse and emotion. For an obsession such as the one which ruled my mother’s life could only have existed to fill a terrible hurting void; it is the void we must not mention, for, who knows, it may still exist just below the uneasy quaking surface. Quicksand. So easy to get sucked under. Better to walk carefully, to say nothing.

She may have lost her nerve and become, in the end, finally doubtful about what she had once taken to be taste. Perhaps she simply became exhausted. Or the cost of paint and paper may have strained her small pension. It may be that she suddenly realized one day that all her energy was being poured into an unworthy vessel. Or perhaps she was struck with the heart-racking futility of altering mere surfaces and never reaching the heart: her world was immutable, she may have decided. What was the point of trying to change it?

Because the Vistadome is packed with people, Eugene and I sit side by side in the day coach, I by the window and he in the aisle seat. We are leaving the mountains behind and for an hour we’ve watched their angles collapse; they are softening and melting into green, elongated hills which, with their hint of cultivation, are mannerly and almost English. Eugene tells me he has never crossed the Rockies by train before.

“Why not?” I ask.

He shrugs; he is a man much given to shrugging, resignation being the principal inheritance of his forty years. “I don’t really know.”

“How did you get out of Estevan in the first place?” I demand.

“Bus,” he says. “I left on a Thursday afternoon and got into Vancouver late on a Friday night. September. It was the first Friday in September, I remember exactly. I’d just turned eighteen.”

“Why didn’t you take the train?” I ask, wanting details.

“The bus was cheaper,” he explains carefully as though I were exceedingly simple. “Probably only a buck or two, but to my folks—” he stops, shrugging again.

“How did you get home for holidays,” I ask, “when you were at university?” These questions are necessary, for though Eugene and I have known each other for two years now, there are miles of unknown territory to recover. Thirty-eight years of his life, thirty-six of mine.

“Hitchhiked,” he says. “Then in my third year I bought that old, tan Chevvy. I told you about that.”