Читать книгу Silences, or a Woman's Life - Marie Chaix - Страница 6

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I encountered her by chance one day, between bare museum walls, and I recognized her at once. I wasn’t surprised. She sat there, motionless in her gloomy surroundings, as if she had been expecting me for years. I went up to her. Gradually the white walls around us faded away, and I saw her in the dull glow of the floor lamp that stood beside her.

On the floor lies a coarse rug. It might be threadbare, with its weft and soiled edges plain to see; it might be decorated with timeworn flowers; or not. Its texture hardly matters, or how old and shabby it has become, because it is simply ageless. Its washed-out colors have merged into one indefinable hue—a mauve-gray, a musty purple, a brownish green: the color of dust and old age that you can smell in all the places where old people live, where for decades nothing has changed. On the rug, a stool littered with bits of old cloth; next to it, a battered wicker sewing basket trailing tangled embroidery threads; on a stand covered in crumpled lace, an oval silver-plate box (its lid of enamel or marble) that once contained who knows what—perhaps sweets stuck together, gumdrops, or candied violets; or sugared almonds from some half-forgotten baptism; or rusty hairpins? Behind the box stand seven frames of varying size, of which some are gilt, the rest black and chipped. Within them, stained and faded, family snapshots gleam faintly: a smiling couple, a vigorous-looking soldier, a beaming baby, a group of sickly children with a flowering thicket behind them, a dignified old mother. In front of them lies a pair of steel-rimmed spectacles.

In the uncertain light of the floor lamp (its long uneven fringe of dirty string was once embellished with glass beads), in this harsh intimacy without windows or daylight, she sits in a massive armchair of brown wood: the image of a woman and of a life that are drawing to their close.

From her waxy oilcloth dress, patterned with floral green and violet, four stiff white limbs emerge. They are bones—not those of a human skeleton but crude animal remains that could as well be worn, whitened branches that the winter sea casts up on the shore. The ones that represent her legs stand upright in the large laced black shoes, which have apparently been deformed by some chronic infirmity. The hands are realistic—rheumatic plaster gloves, one gripping the armrest next to a cane that leans against the chair, the other tightly clutching a fat gray cat that lies nestled against an unimaginable belly. The cat’s eyes are appalling: pitiless and full of spite, as if they had soaked up all the force of hate and resentment accumulated during a life of regrets.

The woman’s head is a large jar, tilted onto its side so that its base displays her face—the sweet face of a young woman, enclosed in a finely wrought gilt frame. When the jar is seen in profile, however, glass eyes stare out from a fleshless skull (a rabbit’s perhaps, or a sheep’s). Her shoulders and bosom have disappeared beneath a tangle of jars. The point of this strange decoration is not at once apparent, but a closer look reveals that what she is wearing around her neck is her life. It’s as though her translucent skull had been drained of all remembrance, and her memories had been gathered in these little jars that cling to her, strung together by slender chains to form a ghastly necklace. The jars contain outdated images of old joys and sorrows: the recollections, enhanced by time and forgetfulness, which give a life its value and which, when that life is spent, are no more than dead objects to the people who inherit them. Medallions, crucifixes, locks of hair, amulets, feathers, pebbles, dried flowers, insects . . . They cling to her old age like venerable keepsakes; she has put them in chains for fear of losing them. The head is empty, but the images remain, under glass. And everything stays where it belongs.

A simple background completes the setting of this declining life: a partition of varnished mahogany set waist-high behind the chair, underneath a bedstead covered in a yellowing flowered cretonne. At the center of the bedstead, in an oval frame, reigns a life-sized portrait of the husband, the man, the dear departed, with his medals and his mustache.

And there she waits, waits, waits—she has been entitled The Wait (by the sculptor Kienholz, her creator). In the desolation of her invalid’s immobility, what is there to wait for besides the definitive immobility that will be neither more nor less horrifying? It will not modify her setting (her dead and buried past), it will not change her in other people’s eyes—they go their way and forget her.

That day in the museum I could hardly tear myself away from the worn rug or the wan light that cast shadows round the woman in the chair. I almost sat down on the stool to talk to her, but the cat gave me a dirty look. It was time to leave.

Night was falling. It was the appointed hour for my visit. She would be waiting for me, seated in the yellow light of the floor lamp, with her glasses on her nose and the little chains that secured them quivering against her cheeks. She would be knitting, or embroidering a doily, with the cat on her lap; or perhaps watching television, with one ear cocked for my footsteps outside the door and the ringing of the doorbell.

There was a woman in my life whom I loved. Until now, I had limited my thoughts to the moments of happiness that my visits gave her.

Had I so readily accepted her condition of invalid, of seated woman, that only the loveliness of her face still spoke to me and made me forget her age? Had I, out of discretion or anxiety, locked her face inside a frame and strung memories around her neck so that they were all I saw, so that I could hide her true likeness, that of a woman nearing her end?

Now I had met her double; and old age had abruptly started looking like death.