Читать книгу The Book of Susan - Lee Wilson Dodd - Страница 8

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"Never in this (obviously outcast) world!" grumbled Bob Blake, bringing his malletlike fist down on the marble top of the parlor table.

The blow made his half-filled glass jump and clinkle; so he emptied it slowly, then poured in four fingers more, forgetting to add water this time, and sullenly pushed the bottle across to Pearl. But Pearl was fretful. Her watery blue eyes were fixed upon the drumhead of the banjo, where it hung suspended above the melodeon.

"I did so paint them flowers. And well you know it. What's the good of bein' so mean? If you wasn't heeled you'd let me have it my way. Didn't I bring that banjo with me?"

"Hungh! Say you did. What does that prove?"

"I guess it proves somethin', all right."

"Proves you swiped it, likely."

"Me! I ain't that kind, thanks."

"The hell you ain't."

"If you're tryin' to get gay, cut it out!"

"Not me."

"Well, then—quit!"

This was shortly after supper. It was an unusually hot, humid evening; doors and windows stood open to no purpose; and Susan was sitting out on the monolithic door slab, fighting off mosquitoes. She found that this defensive warfare partly distracted her from the witless, interminable bickering within. Moreover, the striated effluvia of whisky, talcum powder, and perspiration had made her head feel a little queer. By comparison, the fetid breath from the exposed mud banks of the salt marsh was almost refreshing.

Possibly it was because her head did feel a little queer that Susan began presently to wonder about things. Between her days at the neighboring public school and her voluntary rounds of housework, Susan had not of late years had much waking time to herself. In younger and less crowded hours, before her father had been informed by the authorities that he must either send his child to school or take the consequences, Susan had put in all her spare moments at wondering. She would see a toad in the back yard, for example, under a plantain leaf, and she would begin to wonder. She would wonder what it felt like to be a toad. And before very long something would happen to her, inside, and she would be a toad. She would have toad thoughts and toad feelings. . . . There would stretch above her a dim, green, balancing canopy—the plantain leaf. All about her were soaring, translucent fronds—the grass. It was cool there under the plantain leaf; but she was enormously fat and ugly, her brain felt like sooty cobwebs, and nobody loved her.

Still, she didn't care much. She could feel her soft gray throat, like a blown-into glove finger, pulsing slowly—which was almost as soothing a sensation as letting the swing die down. It made her feel as if Someone—some great unhappy cloudlike Being—were making up a song, a song about most everything; chanting it sleepily to himself—or was it herself?—somewhere; and as if she were part of this beautiful, unhappy song. But all the time she knew that if that white fluffy restlessness—that moth miller—fluttered only a little nearer among those golden-green fronds, she knew if it reached the cool rim of her plantain shade, she knew, then, that something terrible would happen to her—knew that something swift and blind, that she couldn't help, would coil deep within her like a spring and so launch her forward, open-jawed. It was awful—awful for the moth miller—but she couldn't not do it. She was a toad. . . .

And it was the same with her father. There were things he couldn't not do. She could be—sitting very still in a corner—be her father, when he was angry; and she knew he couldn't help it. It was just a dark slow whirling inside, with red sparks flying swiftly out from it. And it hurt while it lasted. Being her father like that always made her sorry for him. But she wished, and she felt he must often wish, that he couldn't be at all. There were lots of live things that would be happier if they weren't live things; and if they weren't, Susan felt, the great cloudlike Being would be less unhappy too.

Naturally, I am giving you Susan's later interpretations of her pre-schoolday wonderings; and a number of you would gasp a little, knowing what firm, delicate imaginings all Susan Blake's later interpretations were, if I should give you her pen name as well—which I have promised myself not to do. This is not an official study of a young writer of peculiar distinction; it is merely an unpretending book about a little girl I knew and a young married woman I still know—one and the same person. It is what I have named it—that only: The Book of Susan.

Meanwhile, this humid June night—to the sordid accompaniment of Bob and Pearl snarling at each other half-drunkenly within—Susan waits for us on the monolithic door slab; and there is a new wonder in her dizzy little head. I can't do better than let her tell you in her own words what this new wonder was like.

"Ambo, dear"—my name, by the way, is Ambrose Hunt; Captain Hunt, of the American Red Cross, at the present writing, which I could date from a sleepy little village in Southern France—"Ambo, dear, it was the moon, mostly. There was a pink bud of light in the heat mist, way off beyond East Rock, and then the great wild rose of the moon opened slowly through it. Papa, inside, was sounding just like a dog when he's bullying another dog, walking up on the points of his toes, stiff legged, round him. So I tried to escape, tried to be the moon; tried to feel floaty and shining and beautiful, and—and remote. But I couldn't manage it. I never could make myself be anything not alive. I've tried to be stones, but it's no good. It won't work. I can be trees—a little. But usually I have to be animals, or men and women—and of course they're animals too.

"So I began wondering why I liked the moon, why just looking at it made me feel happy. It couldn't talk to me; or love me. All it could do was to be up there, sometimes, and shine. Then I remembered about mythology. Miss Chisholm, in school, was always telling us about gods and goddesses. She said we were children, so we could recreate the gods for ourselves, because they belonged to the child age of the world. She talked like that a lot, in a faded-leaf voice, and none of us ever understood her. The truth is, Ambo, we never paid any attention to her; she smiled too much and too sadly, without meaning it; and her eyelashes were white. All the same, that night somehow I remembered Artemis, the virgin moon goddess, who slipped silently through dark woods at dusk, hunting with a silvery bow. Being a virgin seemed to mean that you didn't care much for boys. But I did always like boys better than girls, so I decided I could never be a virgin. And yet I loved the thought of Artemis from that moment. I began to think about her—oh, intensely!—always keeping off by herself; cool, and shining, and—and detached. And there was one boy she had cared for; I remembered that, too, though I couldn't remember his name. A naked, brown sort of boy, who kept off by himself on blue, distant hills. So Artemis wasn't really a virgin at all. She was just—awfully particular. She liked clean, open places, and the winds, and clear, swift water. What she hated most was stuffiness! That's why I decided then and there, Ambo, that Artemis should be my goddess, my own pet goddess; and I made up a prayer to her. I've never forgotten it. I often say it still. . . .

Dearest, dearest Far-Away, Can you hear me when I pray? Can you hear me when I cry? Would you care if I should die? No, you wouldn't care at all; But I love you most of all.

"It isn't very good, Ambo, but it's the first rhyme I ever made up out of my own head. And I just talked it right off to Artemis without any trouble. But I had hardly finished it, when——"

What had happened next was the crash of glassware, followed by Bob's thick voice, bellowing: "C'm ba' here! Damned slut! Tell yeh t' c'm ba' an'—an' 'pol'gize!"

Susan heard a strangling screech from Pearl, the jar of a heavy piece of furniture overturned. The child's first impulse was to run out into Birch Street and scream for help. She tells me her spine knew all at once that something terrible had happened—or was going to happen. Then, in an odd flash of hallucination, she saw Artemis poised the fleetingest second before her—beautiful, a little disdainful, divinely unafraid. So Susan gulped, dug her nails fiercely into her palms, and hurried back through the parlor into the kitchen, where she stumbled across the overturned table and fell, badly bruising her cheek.

As she scrambled to her feet a door slammed to, above. Her father, in a grotesque crouching posture, was mounting the ladderlike stair. On the floor at the stair's foot lay the parchment head of Pearl's banjo, which he had cut from its frame. Susan distinctly caught the smudged pinks and blues of the nondescript flowers. She realized at once that her father was bound on no good errand. And Pearl was trapped. Susan called to her father, daringly, a little wildly. He slued round to her, leaning heavily on the stair rail, his face green-white, his lips held back by some evil reflex in a fixed, appalling grin.

It was the face of a madman. . . . He raised his right hand, slowly, and a tiny prismatic gleam darted from the blade of an opened razor—one of his precious set of six. He had evidently used it to destroy the banjo head, which he would never have done in his right mind. But now he made a shocking gesture with the blade, significant of other uses; then turned, crouching once more, to continue upward. Susan tried to cry out, tried to follow him, until the room slid from its moorings into a whirlpool of humming blackness. . . .

That is all Susan remembers for some time. It is just as well.