The Hours. Michael Cunningham

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СКАЧАТЬ dormitory night as he assured her that Vaughan was not the proper name for her. She should, he’d said, be named after a great figure in literature, and while she’d argued for Isabel Archer or Anna Karenina, Richard had insisted that Mrs. Dalloway was the singular and obvious choice. There was the matter of her existing first name, a sign too obvious to ignore, and, more important, the larger question of fate. She, Clarissa, was clearly not destined to make a disastrous marriage or fall under the wheels of a train. She was destined to charm, to prosper. So Mrs. Dalloway it was and would be. “Isn’t it beautiful?” Mrs. Dalloway said that morning to Richard. He answered, “Beauty is a whore, I like money better.” He preferred wit. Clarissa, being the youngest, the only woman, felt she could afford a certain sentimentality. If it was late June, she and Richard would have been lovers. It would have been almost a full month since Richard left Louis’s bed (Louis the farm-boy fantasy, the living embodiment of lazy-eyed carnality) and came into hers.

      “Well, I happen to like beauty,” she’d said. She’d lifted his hand from her shoulder, bit down on the tip of his index finger, a little harder than she’d meant to. She was eighteen, renamed. She could do what she liked.

      Clarissa’s shoes make their soft sandpaper sounds as she descends the stairs on her way to buy flowers. Why doesn’t she feel more somber about Richard’s perversely simultaneous good fortune (“an anguished, prophetic voice in American letters”) and his decline (“You have no T-cells at all, none that we can detect”)? What is wrong with her? She loves Richard, she thinks of him constantly, but she perhaps loves the day slightly more. She loves West Tenth Street on an ordinary summer morning. She feels like a sluttish widow, freshly peroxided under her black veil, with her eye on the eligible men at her husband’s wake. Of the three of them—Louis, Richard, and Clarissa—Clarissa has always been the most hard-hearted, and the one most prone to romance. She’s endured teasing on the subject for more than thirty years; she decided long ago to give in and enjoy her own voluptuous, undisciplined responses, which, as Richard put it, tend to be as unkind and adoring as those of a particularly irritating, precocious child. She knows that a poet like Richard would move sternly through the same morning, editing it, dismissing incidental ugliness along with incidental beauty, seeking the economic and historical truth behind these old brick town houses, the austere stone complications of the Episcopal church and the thin middle-aged man walking his Jack Russell terrier (they are suddenly ubiquitous along Fifth Avenue, these feisty, bowlegged little dogs), while she, Clarissa, simply enjoys without reason the houses, the church, the man, and the dog. It’s childish, she knows. It lacks edge. If she were to express it publicly (now, at her age), this love of hers would consign her to the realm of the duped and the simpleminded, Christians with acoustic guitars or wives who’ve agreed to be harmless in exchange for their keep. Still, this indiscriminate love feels entirely serious to her, as if everything in the world is part of a vast, inscrutable intention and everything in the world has its own secret name, a name that cannot be conveyed in language but is simply the sight and feel of the thing itself. This determined, abiding fascination is what she thinks of as her soul (an embarrassing, sentimental word, but what else to call it?); the part that might conceivably survive the death of the body. Clarissa never speaks to anyone about any of that. She doesn’t gush or chirp. She exclaims only over the obvious manifestations of beauty, and even then manages a certain aspect of adult restraint. Beauty is a whore, she sometimes says. I like money better.

      Tonight she will give her party. She will fill the rooms of her apartment with food and flowers, with people of wit and influence. She will shepherd Richard through it, see that he doesn’t overtire, and then she will escort him uptown to receive his prize.

      She straightens her shoulders as she stands at the corner of Eighth Street and Fifth Avenue, waiting for the light. There she is, thinks Willie Bass, who passes her some mornings just about here. The old beauty, the old hippie, hair still long and defiantly gray, out on her morning rounds in jeans and a man’s cotton shirt, some sort of ethnic slippers (India? Central America?) on her feet. She still has a certain sexiness; a certain bohemian, good-witch sort of charm; and yet this morning she makes a tragic sight, standing so straight in her big shirt and exotic shoes, resisting the pull of gravity, a female mammoth already up to its knees in the tar, taking a rest between efforts, standing bulky and proud, almost nonchalant, pretending to contemplate the tender grasses waiting on the far bank when it is beginning to know for certain that it will remain here, trapped and alone, after dark, when the jackals come out. She waits patiently for the light. She must have been spectacular twenty-five years ago; men must have died happy in her arms. Willie Bass is proud of his ability to discern the history of a face; to understand that those who are now old were once young. The light changes and he walks on.

      Clarissa crosses Eighth Street. She loves, helplessly, the dead television set abandoned on the curb alongside a single white patent-leather pump. She loves the vendor’s cart piled with broccoli and peaches and mangoes, each labeled with an index card that offers a price amid abundances of punctuation: “$1.49!!” “3 for ONE Dollar!?!” “50 Cents EA.!!!!!” Ahead, under the Arch, an old woman in a dark, neatly tailored dress appears to be singing, stationed precisely between the twin statues of George Washington, as warrior and politician, both faces destroyed by weather. It’s the city’s crush and heave that move you; its intricacy; its endless life. You know the story about Manhattan as a wilderness purchased for strings of beads but you find it impossible not to believe that it has always been a city; that if you dug beneath it you would find the ruins of another, older city, and then another and another. Under the cement and grass of the park (she has crossed into the park now, where the old woman throws back her head and sings) lay the bones of those buried in the potter’s field that was simply paved over, a hundred years ago, to make Washington Square. Clarissa walks over the bodies of the dead as men whisper offers of drugs (not to her) and three black girls whiz past on roller skates and the old woman sings, tunelessly, iiiiiii. Clarissa is skittish and jubilant about her luck, her good shoes (on sale at Barney’s, but still); here after all is the sturdy squalor of the park, visible even under its coat of grass and flowers; here are the drug dealers (would they kill you if it came to that?) and the lunatics, the stunned and baffled, the people whose luck, if they ever had any, has run out. Still, she loves the world for being rude and indestructible, and she knows other people must love it too, poor as well as rich, though no one speaks specifically of the reasons. Why else do we struggle to go on living, no matter how compromised, no matter how harmed? Even if we’re further gone than Richard; even if we’re fleshless, blazing with lesions, shitting in the sheets; still, we want desperately to live. It has to do with all this, she thinks. Wheels buzzing on concrete, the roil and shock of it; sheets of bright spray blowing from the fountain as young shirtless men toss a Frisbee and vendors (from Peru, from Guatemala) send pungent, meaty smoke up from their quilted silver carts; old men and women straining after the sun from their benches, speaking softly to each other, shaking their heads; the bleat of car horns and the strum of guitars (that ragged group over there, three boys and a girl, could they possibly be playing “Eight Miles High”?); leaves shimmering on the trees; a spotted dog chasing pigeons and a passing radio playing “Always love you” as the woman in the dark dress stands under the arch singing iiiii.

      She crosses the plaza, receives a quick spatter from the fountain, and here comes Walter Hardy, muscular in shorts and a white tank top, performing his jaunty, athletic stride for Washington Square Park. “Hey, Clare,” Walter calls jockishly, and they pass through an awkward moment about how to kiss. Walter aims his lips for Clarissa’s and she instinctively turns her own mouth away, offering her cheek instead. Then she catches herself and turns back a half second too late, so that Walter’s lips touch only the corner of her mouth. I’m so prim, Clarissa thinks; so grandmotherly. I swoon over the beauties of the world but am reluctant, simply as a matter of reflex, to kiss a friend on the mouth. Richard told her, thirty years ago, that under her pirate-girl veneer lay all the makings of a good suburban wife, and she is now revealed to herself as a meager spirit, too conventional, the cause of much suffering. No wonder her daughter resents her.

      “Nice to see you,” Walter says. Clarissa knows—she can practically see—that Walter is, at this moment, working СКАЧАТЬ