Frances must have known. She knew what Billy was. She never asked. She never had to. She never said in front of Frank: Mommy, who was that man? She never said it because she knew, and she thought she had to protect Frank, and I suppose she still remembers Billy, and she remembers the things she saw in Los Angeles.
So she doesn’t respect me. She saw her fat, ordinary mother chasing man after man in L.A. and always being dumped and disappointed. Treated like a towel on which men wiped themselves. Some fat old widow from Lancaster with a Buick, that’s what people thought until it turned out her husband was still alive. She bounced her fat old hips like a mattress. And Frances, coming back early from Meglin’s and her new dance steps, would sometimes see the men leave. She must have thought the lessons were just an excuse to get me to L.A. and to the men.
Can’t you forgive that now, Frances? After all the men you’ve had? After the divorces? Can’t you understand?
Nothing works out for either of us, Kid. Like me, marrying William Gilmore. The nice neighbor man with the dying wife. My life, Baby, is a parade of mistakes, and I still don’t know what I did wrong.
I remember meeting the Gilmores for the first time. We were the nice new couple who bought the movie house. They were neighbors two streets down. We had them in for bridge. I’d serve iced tea and try to pretend that there was anything gracious about the gray bleached streets of Lancaster. Mary Gilmore would come into the kitchen after dinner to help me wash up, talking about the town. Mary didn’t like Lancaster either. You couldn’t like that heat. We’d talk about ways to keep cool, damp cloths and scent. We’d talk about the local school and how to keep the kids healthy.
If only we had seen the future, Mary and me. Me marrying her husband. Baby Frances becoming this thing on posters, this giant creature. Mary dying. I saw her die, of a stroke, like a rose in the Lancaster heat. I saw William Gilmore cry, and I thought, Who will cry for me? I saw a nice, decent man.
Two years later Frank was dead, Baby, and I was more sorry than you’ll know. The strangeness of life. I had loved him once, Baby, when he was twenty-eight and still beautiful, and I had lain with him and we produced three children before the horror finally closed in on us.
Frank was dead, Baby, and the marriage had died years before, and I was alone, and Mary was dead too, and I confused sympathy in mourning for sympathy in life. So I married Bill Gilmore, and the nice decent man turned out to be dull, Baby. Dull, yes, after your father. I found I had married an old man who just wanted his slippers and his supper cooked. I had been permanently swindled, Baby, swindled out of a whole part of life, when you’re married but still young enough to attract each other. I never really had love like that. Like peaches that fall before they’re picked. You can’t put them back on the tree. Nice dull Gilmore wanted two minutes out of me once a week, with his eyes closed, pretending I was something young and lovely. Or even pretending I was Mary. Too many ghosts.
I had nothing, Baby. My life had gone wrong again. And you danced when the marriage failed, Baby. I saw your smile. I saw you be so glad the marriage had died. Just because it wasn’t your precious father, because I dared to have a life of my own, after you and he had gone. Why do you think you own me? And if you do own me, why don’t you take care of me?
Well, listen, Baby, listen, Frances, I hate you too. I hate you for the smile when Ethel Milne passed through the name of Gilmore and out the other side. You wanted me to fail. As hard as I wanted you to succeed, you wanted me unhappy. What was I supposed to do? Stay and hold your hand when you ditched friends and husbands? Be your mommy when all you ever did was tell me I was in the way? Where was I supposed to go, when I saw that evil light come into your eyes and I knew you were going to snap again or make me feel small? When I knew you were going to extract revenge like pulling teeth out of my head.
Your friends. They would look at me with that silent, smug little smirk, that Lancaster smirk that said we know the whole story, you don’t fool us, we know what you are, Judy has told us about you. Those smart Hollywood young people, smirking as I tried to make myself useful, passing around canapés as Baby barely bothered to be polite.
Oh, smart young people, blaming me for your precious Judy’s red, red eyes and the fact that she lied, over and over, playing nervously with her hair. Going mad in front of your eyes, blaming me, and doing nothing.
Did they ever help you, Baby, all your smart young friends? What did they do for you except pour you another drink, or keep you supplied with the pills? What was I to do, Baby, but get out of your way for good? That was what you wanted, wasn’t it?
So Ethel Milne moved again. Listen, Baby, I am of frontier stock. My people built houses out of sod, brought them out of the ground from nowhere. We don’t need anything from anybody. My people made their own soap and made their own shoes if they had to. Here come the Redskins, move the wagons into a circle, duck the arrows, and take up a rifle and shoot. Then move on.
So I moved again, my little Gargoyle, when I knew you didn’t want me. I moved to Texas. I went to live with Jinny, the plainest and plainest talking of all the Gumms. Who else did I have? Jinny didn’t know me, but at least she didn’t hate me. Didn’t look gleeful when I did something wrong. Didn’t relish every opportunity to curse me in my own house.
Texas was Lancaster all over again: another hot dusty town. It was a pattern by now. I still couldn’t get away from the pattern. I opened a movie house, Baby. Only I didn’t play piano anymore, and I had no one to sing with, and I had to be careful not to visit Jinny too much in case I overstayed my welcome. It wasn’t home, Baby. If I had a home left anywhere, I would have gone to it. Back to Superior? Back to those bright gals, with their sensible husbands? Those bright sagging gals in their fifties whose faces had so changed I wouldn’t recognize them, whose world was so far away from the one we were part of together? Mother dead, father dead. We all go down into darkness, Baby. It opens up under our feet. If we’re here together for such a short time, why do we make life so hard on each other?
We were right, us girls in Superior. Right to be cool and sensible, tough but clean, right to believe in the rational. It was the rational that left us. What a world, what a world. Opening up inside us, opening up in the dark and fertile places. Good and evil mingle there, blood and darkness, where children are born and blood comes pouring out. A wound. All women are wounded, Judy Gargoyle. You more than any of them. What did I do to you?
You tried to cut your throat. I read about it in the papers. So I came back from Texas and you wouldn’t see me, and your smart young friends told me I was the reason. And I had to see it then, see that you had an arrow in your heart, and you thought it was me.
I left Frank Gumm because he would destroy us, Baby. I worked us so hard because we needed to be able to make a living without him. He was driven from Lancaster because of the things he did there, with everyone knowing. They tried to forgive him, poor Frank, poor poor beautiful Frank. They tried to forgive him, and tried to ignore it, but I guess without me there, he just went to pot. Went too far. Danny Boy.
Oh God, I’m crying. Why am I crying for him? Poor Frank. Poor fat balding little boy, always hoping every time he shook a man’s hand that he had found it, love, a friend, something true out of a life of lies and horror. Poor Frank, trying hard to love me, not for my breasts or my body, but loving me for the pattern we made, the pattern I can’t escape, the pattern in the lights, the pattern in the song, the pattern in our three little girls, all of us singing in the magic circle of the lights. That was Heaven. If those Gates open, if I am forgiven, that is what I expect Heaven to be. The stage of the Valley Theater, with all of us together again, but in spirit, in the pattern. How could we lose so much? How could we fumble so badly? Maybe beyond the Gates, Baby, we’ll all be healed.
Ghosts, Baby. We’re ghosts, haunting each other now. We went back to Lancaster once, remember, back when you and I were still friends. I sat in the limousine, terrified, while you went to see that awful girl. I was terrified that if I got out, I’d stay. I’d find Frank still there, and the life of lies. I was frightened I’d see him walking down Cedar Street, and that he’d wave, poor ghost, not knowing he was dead, and that I was ten years older. That he’d go back to our house, and find someone else living there. Where are our babies? he’d ask. Did we fail, then? Did it happen in the end? And I would have to say, in a sour and weary voice, Yes, Frank, it happened again. What did you expect? It happened again, and it killed you.
So I sat huddled in that car, telling myself it was the heat that I was hiding from. But it was hotter inside the car than out. So I braved it. I got out and waited and wondered how long you would be. And then I went for a little walk.
And I felt it, a brush against my hand. And it was as if I had my Baby back, the little baby hidden away in that huge, bitter shell. And my Baby and I walked through those barren, flat, blistered streets as if the future had not come to destroy us. And I felt another hand, plump and soft and large and damp, and it was Frank. And Jinnie ran on ahead, Janie looked uncomfortable, and I knew we were still in Lancaster somewhere. Somewhere, maybe in the wind. The wind makes a noise in the tamarisk. In the dust.
You haven’t seen Muggsie since, and I’m not sure who you are married to now, except that I haven’t met him and never will. But somewhere I still love my Baby, and I have to hope that somewhere in the wilderness she still loves me. But I can’t touch the love, and I can’t find the truth. So I still have to go on.
Go on calling the truth the Devil that only comes in idleness.
Ethel Milne Gumm Gilmore looked at her watch.
Thump.
Thump.
Eight-fifteen. Now I’m late. Late for real. Oh, Ethel, sitting here like a lump when you should be moving.
Her body didn’t respond. It didn’t want to move. Come on, Ethel. There’s a time clock. You have to punch it to eat. You have to punch it and write on cards and file them and put papers away.
I don’t want to, her body replied. I want to go play piano. I want to sit here and look at the sky.
Like moving through mud, Ethel turned. She turned and fumbled with the door. Makeup, she remembered. I haven’t done my makeup. With terrible weariness, she looked at her face in the mirror. It was gray and covered with sweat and streaked with foundation that hadn’t been worked and smoothed. The foundation slipped, skidding across her face as she rubbed it. She smeared on some lipstick. Her lips were sweaty, as if she were melting. Getting up early doesn’t suit the old, she told herself.
Shortcut. Cut between the cars. The car door felt like slippery rubber in her hands. Her feet felt like the shoes were too big, with heels that were loose. I should have eaten something. I feel so hollow inside. Empty. Empty. A nothingness, waiting to suck me in.
She began to hurry. She needed to get inside the plant. There would be shade there, and chairs, and she could sit, and fan herself, get herself together, tell her boss she was sick. There was a first-aid room, a couch to rest on. She was hot though the air was cold. She stepped outside and vapor rose out of her, from her nostrils, from the back of her hands.
She steamed out into the California morning that was so bright, ablaze with light so that it burned her eyes; she felt dizzy; she couldn’t see. A shortcut, she told herself. A shortcut between the cars, the strangers’ cars, gray and blue and red, other people’s cars, not hers. All her life, living among people’s cars, driving along the Mint Canyon Highway.
Thump. As in a cyclone, breath was taken from her. She tried to breathe, pull in air, but it wouldn’t come. A fist seemed to have clenched her chest. It held her vengefully. Kneel, it said. Kneel before your God.
I don’t have one, she thought, her thoughts in a thin and pitiful voice. A blaze of light that meant nothing. I have no God, and I am forced to kneel to nothing. She was down on her knees between the strangers’ cars. Her arms were stretched apart, each hand clasping a door handle to keep from falling. All the big, washed cars were lined up in judgment, at the gates of McDonnell Douglas, the strange and unimagined ending place of her life. She knelt in the light and asked forgiveness, as we all must, for failing without knowing why, and for living so long without seeing so much. But kneeling in the light, settling through it, crucified between two door handles, it seemed to her that she was. Forgiven. Or rather, that there was nothing to forgive. Ethel Milne was borne away.
She did not know that her daughter had had a change of heart and was making plans with her lawyer to arrange financial support for her mother. The Gumm sisters came to the funeral and did not speak to each other. There was too much to say. For Frances it was one more tightening of the knot, one more loop in the tangle. One month later, in February 1953, the Valley Theater, Lancaster, was hollowed out by a fire, as if a revenging spirit had raged through its aisles. It was not rebuilt. It is now difficult, even with old maps, to reconstruct where it once stood.
Part Two: The Summer Kitchen
Manhattan, Kansas
1881
. . . the men burning houses and barns and horses so that for ten years and more the countryside was an inferno of revenge, broken by a fifth season of arson. The tramps who packed guns and overran whole towns. The old men who went mad with jealousy. The old women who jumped down wells. All those mothers: the ones who carried their children into the rivers, the ones who fed them arsenic and strychnine so that, if they had to die, at least it wouldn’t be of epidemic disease . . . All the men who cleansed the putrescence of their lives with carbolic acid. All the others who killed themselves with the same insecticide they used on the potato bugs . . .
By the end of the nineteenth century, century towns had become charnel-houses and the counties that surrounded them had become places of dry bones. The land and its farms were filled with the guilty voices of women mourning for their children and the aimless mutterings of men asking about jobs. State, county, and local news consisted of stories of resignation, failure, suicide, madness and grotesque eccentricity. Between 1900 and 1920, 30 per cent of the people who lived on farms left the land . . .
The people who left the land came to the cities not to get jobs, but to be free from them, not to get work but to be entertained, not to be masters but to be charges. They followed yellow brick roads to emerald cities presided over by imaginary wizards who would permit them to live in happy adolescence for the rest of their lives . . . It is this adolescent city culture, created out of the desperate needs and fantasies of people fleeing from the traps and tragedies of late nineteenth century country life, that still inspires us seventy years later.
—Michael Lesy,
Wisconsin Death Trip