TENDER IS THE NIGHT (The Original 1934 Edition). Фрэнсис Скотт Фицджеральд

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СКАЧАТЬ must go no further—she had come in unexpectedly and found Gloria acting, well, very much engaged indeed. She had not spoken to her daughter, of course. She had had a certain sense of delicacy and, besides, each time she had expected an announcement in a few weeks. But the announcement never came; instead, a new man came.

      Scenes! Young men walking up and down the library like caged tigers! Young men glaring at each other in the hall as one came and the other left! Young men calling up on the telephone and being hung up upon in desperation! Young men threatening South America! … Young men writing the most pathetic letters! (She said nothing to this effect, but Dick fancied that Mrs. Gilbert’s eyes had seen some of these letters.)

      … And Gloria, between tears and laughter, sorry, glad, out of love and in love, miserable, nervous, cool, amidst a great returning of presents, substitution of pictures in immemorial frames, and taking of hot baths and beginning again—with the next.

      That state of things continued, assumed an air of permanency. Nothing harmed Gloria or changed her or moved her. And then out of a clear sky one day she informed her mother that undergraduates wearied her. She was absolutely going to no more college dances.

      This had begun the change—not so much in her actual habits, for she danced, and had as many “dates” as ever—but they were dates in a different spirit. Previously it had been a sort of pride, a matter of her own vainglory. She had been, probably, the most celebrated and sought-after young beauty in the country. Gloria Gilbert of Kansas City! She had fed on it ruthlessly—enjoying the crowds around her, the manner in which the most desirable men singled her out; enjoying the fierce jealousy of other girls; enjoying the fabulous, not to say scandalous, and, her mother was glad to say, entirely unfounded rumors about her—for instance, that she had gone in the Yale swimming-pool one night in a chiffon evening dress.

      And from loving it with a vanity that was almost masculine—it had been in the nature of a triumphant and dazzling career—she became suddenly anaesthetic to it. She retired. She who had dominated countless parties, who had blown fragrantly through many ballrooms to the tender tribute of many eyes, seemed to care no longer. He who fell in love with her now was dismissed utterly, almost angrily. She went listlessly with the most indifferent men. She continually broke engagements, not as in the past from a cool assurance that she was irreproachable, that the man she insulted would return like a domestic animal—but indifferently, without contempt or pride. She rarely stormed at men any more—she yawned at them. She seemed—and it was so strange—she seemed to her mother to be growing cold.

      Richard Caramel listened. At first he had remained standing, but as his aunt’s discourse waxed in content—it stands here pruned by half, of all side references to the youth of Gloria’s soul and to Mrs. Gilbert’s own mental distresses—he drew a chair up and attended rigorously as she floated, between tears and plaintive helplessness, down the long story of Gloria’s life. When she came to the tale of this last year, a tale of the ends of cigarettes left all over New York in little trays marked “Midnight Frolic” and “Justine Johnson’s Little Club,” he began nodding his head slowly, then faster and faster, until, as she finished on a staccato note, it was bobbing briskly up and down, absurdly like a doll’s wired head, expressing—almost anything.

      In a sense Gloria’s past was an old story to him. He had followed it with the eyes of a journalist, for he was going to write a book about her some day. But his interests, just at present, were family interests. He wanted to know, in particular, who was this Joseph Bloeckman that he had seen her with several times; and those two girls she was with constantly, “this” Rachael Jerryl and “this” Miss Kane—surely Miss Kane wasn’t exactly the sort one would associate with Gloria!

      But the moment had passed. Mrs. Gilbert having climbed the hill of exposition was about to glide swiftly down the ski-jump of collapse. Her eyes were like a blue sky seen through two round, red window-casements. The flesh about her mouth was trembling.

      And at the moment the door opened, admitting into the room Gloria and the two young ladies lately mentioned.

      Two Young Women.

      “Well!”

      “How do you do, Mrs. Gilbert!”

      Miss Kane and Miss Jerryl are presented to Mr. Richard Caramel. “This is Dick” (laughter).

      “I’ve heard so much about you,” says Miss Kane between a giggle and a shout.

      “How do you do,” says Miss Jerryl shyly.

      Richard Caramel tries to move about as if his figure were better. He is torn between his innate cordiality and the fact that he considers these girls rather common—not at all the Farmover type.

      Gloria has disappeared into the bedroom.

      “Do sit down,” beams Mrs. Gilbert, who is by now quite herself. “Take off your things.” Dick is afraid she will make some remark about the age of his soul, but he forgets his qualms in completing a conscientious, novelist’s examination of the two young women.

      Muriel Kane had originated in a rising family of East Orange. She was short rather than small, and hovered audaciously between plumpness and width. Her hair was black and elaborately arranged. This, in conjunction with her handsome, rather bovine eyes, and her over-red lips, combined to make her resemble Theda Bara, the prominent motion picture actress. People told her constantly that she was a “vampire,” and she believed them. She suspected hopefully that they were afraid of her, and she did her utmost under all circumstances to give the impression of danger. An imaginative man could see the red flag that she constantly carried, waving it wildly, beseechingly—and, alas, to little spectacular avail. She was also tremendously timely: she knew the latest songs, all the latest songs—when one of them was played on the phonograph she would rise to her feet and rock her shoulders back and forth and snap her fingers, and if there was no music she would accompany herself by humming.

      Her conversation was also timely: “I don’t care,” she would say, “I should worry and lose my figure”—and again: “I can’t make my feet behave when I hear that tune. Oh, baby!”

      Her finger-nails were too long and ornate, polished to a pink and unnatural fever. Her clothes were too tight, too stylish, too vivid, her eyes too roguish, her smile too coy. She was almost pitifully overemphasized from head to foot.

      The other girl was obviously a more subtle personality. She was an exquisitely dressed Jewess with dark hair and a lovely milky pallor. She seemed shy and vague, and these two qualities accentuated a rather delicate charm that floated about her. Her family were “Episcopalians,” owned three smart women’s shops along Fifth Avenue, and lived in a magnificent apartment on Riverside Drive. It seemed to Dick, after a few moments, that she was attempting to imitate Gloria—he wondered that people invariably chose inimitable people to imitate.

      “We had the most hectic time!” Muriel was exclaiming enthusiastically. “There was a crazy woman behind us on the bus. She was absitively, posolutely nutty! She kept talking to herself about something she’d like to do to somebody or something. I was pet_rified, but Gloria simply wouldn’t get off.”

      Mrs. Gilbert opened her mouth, properly awed.

      “Really?”

      “Oh, she was crazy. But we should worry, she didn’t hurt us. Ugly! Gracious! The man across from us said her face ought to be on a night-nurse in a home for the blind, and we all howled, naturally, so the man tried to pick us up.”

      Presently СКАЧАТЬ