Duet. Carol Shields

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СКАЧАТЬ This is a shell to live in without thought.

      And in a way it is deliberate, this minimal approach to decorating. My sister Charleen and I, now that we are safely grown up, agree on one thing, and that is that as children we were cruelly overburdened with interior decoration. The house in which we grew up in Scarborough – the old Scarborough that is, before television, before shopping centres, the Scarborough of neat and faintly rural streets – that tiny house was in a constant state of revitalization. All our young lives, or so it seemed, we dodged stepladders, stepped carefully around the wet paint, shared the lunch table with wallpaper samples. Our little living room broke out with staggered garlands one year, with French stripes the next, and our girlish bedroom at the back of the house was gutted almost annually. Shaking his head, our father used to say that the rooms would grow gradually smaller under their layers and layers of paint and paper. We would be pushed out on to the street one day, he predicted. It was his little joke, almost his only joke, but straining to recall his voice, do I now hear or imagine the desperate edge? Better Homes and Gardens was centred on our coffee table, cheerful with new storage ideas or instructions for gluing bold fabric to attic ceilings. The dining table was in the basement being refinished, or the chesterfield was being fitted for slipcovers. The pictures were changed with the seasons. ‘My house is my hobby,’ Mother used to say to the few visitors we ever had; and even as she spoke, her eyes turned inward, tuned to the next colour scheme, to the ultimate arrangement, just out of reach, beamed in from House and Garden, a world the rest of us never entered. Nor wished to.

      Still we have put our mark on this place, Martin and I. The floor tiles rise periodically, reminding us they are now nine years old. The utility room is so filled with ski equipment that we call it the ski room. The dining ell has been partitioned off with a plywood planter which looks tacky and hellish, though we thought it a good idea at the time. Hosiery drips from the shower rail in the en suite bathroom. In the cool dry basement our first married furniture glooms around the furnace, its Lurex threads as luminous and accusing as the day we bought it; Richard’s electric train tunnels between the brass-tipped legs. The spacious garden is the same flat rectangle it always was except for a row of tomato plants and a band of marigolds by the fence.

      The house that I once held half-shaped in my head was old, a nook-and-cranny house with turrets and lovely sensuous lips of gingerbread, a night-before-Christmas house, bought for a song and priceless on todays market. Hung with the work of Quebec weavers, an electic composition of Swedish and Canadiana. Tasteful but offhand. A study, beamed, for Martin and a workroom, sunny, for me. Studious corners where children might sit and sip their souls in pools of filtered light. A garden drunk with roses, criss-crossed with paths, moist, shady, secret.

      This place, 62 Beaver Place, is not really me, I used to say apologetically back in the days when I actually said such things. ‘We’re just roosting here until something “us” turns up.’

      I never say it now. If we wanted to, Martin and I could look in his grey file drawer next to his desk in the family room. Between the folders for Tax and Health, we would find House, and from there we could pluck out our offer-to-purchase, the blueprints, the lot survey, the mortgage schedule and, clipped to it, the record of payments along with the annual tax receipts. It’s all there. We could calculate, if we chose, the exact dimensions of our delusions. But we never do. We live here, after all.

      Up and down the gentle curve of Beaver Place we see cedar-shake siding, colonial pillars, the jutting chins of split-levels, each of them bought in hours of panic, but with each one, some particular fantasy fulfilled. The house they never had as children perhaps. The house that will do for now, before the move to the big one on the river lot. The house where visions of dynasty are glimpsed, a house future generations will visit, spend holidays in and write up in memoirs. Why not?

      

      Something curious. One day last week, having been especially energetic about Susanna Moodie and turning out six pages in one morning, I found myself out of paper. There must be some in the house, I thought and, although I prefer soft, pulpy yellow stuff, anything is useable in a pinch, I searched Meredith’s room first, being careful not to disturb her things. Everything there is so carefully arranged; she has all sorts of curios, souvenirs, snapshots, a music award stencilled on felt, animal figurines she collected as a very young child, cosmetics in a pearly pale shade standing at attention on her dresser. Everything but paper.

      In Richard’s room I found desk drawers filled with Anita Spalding’s letters, each one taped shut from prying eyes. Mine perhaps? Safety patrol badges, a map of England with an inked star on Birmingham, a copy of Playboy, hockey pictures, but not a single sheet of useable paper.

      Martin will have some, I thought. I went downstairs to the family room to look in his desk. Nothing in the top drawer except his Xeroxed paper on Paradise Regained, recently rejected by the Milton Quarterly. In his second drawer were clipped notes for an article on Samson Agonistes and offprints of an article he had had printed in Renaissance Studies, the one on Milton’s childhood which he had researched in England. The third drawer was full of wool.

      I blinked. Unbelievable. The drawer was stuffed to the top with brand new hanks of wool, still with their little circular bands around them. I reached in and touched them. Blue, red, yellow, green; fat four-ounce bundles in all colours. Eight of them. Lying on their sides in Martin’s drawer. Wool.

      It couldn’t be for me. I hate knitting and detest crocheting. For Meredith perhaps? An early Christmas present? But she hadn’t knitted anything since Brownies, six years ago, and had never expressed any interest in taking it up again.

      Frieda? Frieda who comes to clean out the house on Wednesday? She knits, and it is just possible, I thought, that it was hers. Absurd though. She never goes in Martin’s desk, for one thing. And what reason would she have to stash all this lunatic wool in his drawer anyway? Richard? Out of the question. What would he be doing with wool? It must be Martin’s. For his mother, maybe; she loves knitting. He might have seen it on sale and bought it for her, although it seemed odd he hadn’t mentioned it to me. I’ll ask him tonight, I thought.

      But that night Martin was at a meeting, and I was asleep when he came home. The next day I forgot. And the next. Whenever it pops into my mind, he isn’t around. And when he is, something makes me stumble and hesitate as though I were afraid of the reply. I still haven’t asked him, but this morning I looked in the drawer to see if it was still there. It was all in place, all eight bundles; nothing had been touched. I must ask Martin about it.

      As Meredith grows up I look at her and think, who does she remind me of? A shaded gesture, a position struck, or something curious she might say will touch off a shock of recognition in me, but I can never think who it is she is like.

      I flip through my relatives – like flashcards. My mother. No, no, no. My sister Charleen? No. Charleen, for all her sensitivity, has a core of detachment. Aunt Liddy? Sometimes I am quite sure it is my old aunt. But no. Auntie’s fragility is neurotic, not natural like Meredith’s. Who else?

      She has changed in the last year, is romantic and realistic in violent turns. Now she is reading Furlong Eberhardt’s new book about the prairies. While she reads, her hands grip the cover so hard that the bones of her hands stand up, whey-white. Her eyes float in a concerned sweep over the pages, her forehead puzzled. It’s painful to watch her; she shouldn’t invest so much of herself in anything as ephemeral as a book; it is criminal to care that much.

      Like my family she is dark, but unlike us she has a delicious water-colour softness, and if she were braver she would be beautiful. She is as tall as I am but she has been spared the wide country shoulders; there are some blessings.

      It is an irony, the sort I relish, that I who am a biographer and delight in sorting out personalities, can’t even draw a circle around СКАЧАТЬ