Alice Munro's Best (17 page)

Sometimes, with all their care, he was a little unhappy. He wanted to go home. He worried about the cows, the fences, about who was getting up to light the fire. A few flashes of meanness – very few. Once, he gave me a sneaky, unfriendly look when I went in; he said, “I'm surprised you haven't worn all the skin off your knees by now.”

I laughed. I said, “What doing? Scrubbing floors?”

“Praying!” he said, in a voice like spitting.

He didn't know who he was talking to.

I DON'
T REMEMBER
my mother's hair being anything but white. My mother went white in her twenties, and never saved any of her young hair, which had been brown. I used to try to get her to tell what color brown.

“Dark.”

“Like Brent, or like Dolly?” Those were two workhorses we had, a team.

“I don't know. It wasn't horsehair.”

“Was it like chocolate?”

“Something like.”

“Weren't you sad when it went white?”

“No. I was glad.”

“Why?”

“I was glad that I wouldn't have hair anymore that was the same color as my father's.”

Hatred is always a sin, my mother told me. Remember that. One drop of hatred in your soul will spread and discolor everything like a drop of black ink in white milk. I was struck by that and meant to try it, but knew I shouldn't waste the milk.

ALL THESE THINGS
I remember. All the things I know, or have been told, about people I never even saw. I was named Euphemia, after my mother's mother. A terrible name, such as nobody has nowadays. At home they called me Phemie, but when I started to work, I called myself Fame. My husband, Dan Casey, called me Fame. Then in the bar of the Shamrock Hotel, years later, after my divorce, when I was going out, a man said to me, “Fame, I've been meaning to ask you, just what is it you are famous for?”

“I don't know,” I told him. “I don't know, unless it's for wasting my time talking to jerks like you.”

After that I thought of changing it altogether, to something like Joan, but unless I moved away from here, how could I do that?

IN THE SUMMER
of 1947, when I was twelve, I helped my mother paper the downstairs bedroom, the spare room. My mother's sister, Beryl, was coming to visit us. These two sisters hadn't seen each other for years. Very soon after their mother died, their father married again. He went to live in Minneapolis, then in Seattle, with his new wife and his younger daughter, Beryl. My mother wouldn't go with them. She stayed on in the town of Ramsay, where they had been living. She was boarded with a childless couple who had been neighbors. She and Beryl had met only once or twice since they were grown up. Beryl lived in California.

The paper had a design of cornflowers on a white ground. My mother had got it at a reduced price, because it was the end of a lot. This meant we had trouble matching the pattern, and behind the door we had to do some tricky fitting with scraps and strips. This was before the days of pre-pasted wallpaper. We had a trestle table set up in the front room, and we mixed the paste and swept it onto the back of the paper with wide brushes, watching for lumps. We worked with the windows up, screens fitted under them, the front door open, the screen door closed. The country we could see through the mesh of screens and the wavery old window glass was all hot and flowering – milkweed and wild carrot in the pastures, mustard rampaging in the clover, some fields creamy with the buckwheat people grew then. My mother sang. She sang a song she said her own mother used to sing when she and Beryl were little girls.

I was excited because Beryl was coming, a visitor, all the way from California. Also because I had gone to town in late June to write the Entrance Examinations, and was hoping to hear soon that I had passed
with honors. Everybody who had finished Grade
8
in the country schools had to go into town to write those examinations. I loved that – the rustling sheets of foolscap, the important silence, the big stone high-school building, all the old initials carved in the desks, darkened with varnish. The first burst of summer outside, the green and yellow light, the townlike chestnut trees, and honeysuckle. And all it was was this same town, where I have lived now more than half my life. I wondered at it. And at myself, drawing maps with ease and solving problems, knowing quantities of answers. I thought I was so clever. But I wasn't clever enough to understand the simplest thing. I didn't even understand that examinations made no difference in my case. I wouldn't be going to high school. How could I? That was before there were school buses; you had to board in town. My parents didn't have the money. They operated on very little cash, as many farmers did then. The payments from the cheese factory were about all that came in regularly. And they didn't think of my life going in that direction, the high-school direction. They thought that I would stay at home and help my mother, maybe hire out to help women in the neighborhood who were sick or having a baby. Until such time as I got married. That was what they were waiting to tell me when I got the results of the examinations.

You would think my mother might have a different idea, since she had been a schoolteacher herself. But she said God didn't care. God isn't interested in what kind of job or what kind of education anybody has, she told me. He doesn't care two hoots about that, and it's what He cares about that matters.

This was the first time I understood how God could become a real opponent, not just some kind of nuisance or large decoration.

MY MOTHER'S NAME
as a child was Marietta. That continued to be her name, of course, but until Beryl came I never heard her called by it. My father always said Mother. I had a childish notion – I knew it was childish – that Mother suited my mother better than it did other mothers. Mother, not Mama. When I was away from her, I could not think what my mother's face was like, and this frightened me. Sitting in
school, just over a hill from home, I would try to picture my mother's face. Sometimes I thought that if I couldn't do it, that might mean my mother was dead. But I had a sense of her all the time, and would be reminded of her by the most unlikely things – an upright piano, or a tall white loaf of bread. That's ridiculous, but true.

Marietta, in my mind, was separate, not swallowed up in my mother's grown-up body. Marietta was still running around loose up in her town of Ramsay, on the Ottawa River. In that town, the streets were full of horses and puddles, and darkened by men who came in from the bush on weekends. Loggers. There were eleven hotels on the main street, where the loggers stayed, and drank.

The house Marietta lived in was halfway up a steep street climbing from the river. It was a double house, with two bay windows in front, and a wooden trellis that separated the two front porches. In the other half of the house lived the Sutcliffes, the people Marietta was to board with after her mother died and her father left town. Mr. Sutcliffe was an Englishman, a telegraph operator. His wife was German. She always made coffee instead of tea. She made strudel. The dough for the strudel hung down over the edges of the table like a fine cloth. It sometimes looked to Marietta like a skin.

Mrs. Sutcliffe was the one who talked Marietta's mother out of hanging herself.

Marietta was home from school that day, because it was Saturday. She woke up late and heard the silence in the house. She was always scared of that – a silent house – and as soon as she opened the door after school she would call, “Mama! Mama!” Often her mother wouldn't answer. But she would be there. Marietta would hear with relief the rattle of the stove grate or the steady slap of the iron.

That morning, she didn't hear anything. She came downstairs, and got herself a slice of bread and butter and molasses, folded over. She opened the cellar door and called. She went into the front room and peered out the window, through the bridal fern. She saw her little sister, Beryl, and some other neighborhood children rolling down the bit of grassy terrace to the sidewalk, picking themselves up and scrambling to the top and rolling down again.

“Mama?” called Marietta. She walked through the house to the back yard. It was late spring, the day was cloudy and mild. In the sprouting vegetable gardens, the earth was damp, and the leaves on the trees seemed suddenly full-sized, letting down drops of water left over from the rain of the night before.

“Mama?” calls Marietta under the trees, under the clothesline.

At the end of the yard is a small barn, where they keep firewood, and some tools and old furniture. A chair, a straight-backed wooden chair, can be seen through the open doorway. On the chair, Marietta sees her mother's feet, her mother's black laced shoes. Then the long, printed cotton summer work dress, the apron, the rolled-up sleeves. Her mother's shiny-looking white arms, and neck, and face.

Her mother stood on the chair and didn't answer. She didn't look at Marietta, but smiled and tapped her foot, as if to say, “Here I am, then. What are you going to do about it?” Something looked wrong about her, beyond the fact that she was standing on a chair and smiling in this queer, tight way. Standing on an old chair with back rungs missing, which she had pulled out to the middle of the barn floor, where it teetered on the bumpy earth. There was a shadow on her neck.

The shadow was a rope, a noose on the end of a rope that hung down from a beam overhead.

“Mama?” says Marietta, in a fainter voice. “Mama. Come down, please.” Her voice is faint because she fears that any yell or cry might jolt her mother into movement, cause her to step off the chair and throw her weight on the rope. But even if Marietta wanted to yell she couldn't. Nothing but this pitiful thread of a voice is left to her – just as in a dream when a beast or a machine is bearing down on you.

“Go and get your father.”

That was what her mother told her to do, and Marietta obeyed. With terror in her legs, she ran. In her nightgown, in the middle of a Saturday morning, she ran. She ran past Beryl and the other children, still tumbling down the slope. She ran along the sidewalk, which was at that time a boardwalk, then on the unpaved street, full of last night's puddles. The street crossed the railway tracks. At the foot of the hill, it intersected the main street of the town. Between the main street and the river were
some warehouses and the buildings of small manufacturers. That was where Marietta's father had his carriage works. Wagons, buggies, sleds were made there. In fact, Marietta's father had invented a new sort of sled to carry logs in the bush. It had been patented. He was just getting started in Ramsay. (Later on, in the States, he made money. A man fond of hotel bars, barbershops, harness races, women, but not afraid of work – give him credit.)

Marietta did not find him at work that day. The office was empty. She ran out into the yard where the men were working. She stumbled in the fresh sawdust. The men laughed and shook their heads at her. No. Not here. Not a-here right now. No. Why don't you try up-street? Wait. Wait a minute. Hadn't you better get some clothes on first?

They didn't mean any harm. They didn't have the sense to see that something must be wrong. But Marietta never could stand men laughing. There were always places she hated to go past, let alone into, and that was the reason. Men laughing. Because of that, she hated barbershops, hated their smell. (When she started going to dances later on with my father, she asked him not to put any dressing on his hair, because the smell reminded her.) A bunch of men standing out on the street, outside a hotel, seemed to Marietta like a clot of poison. You tried not to hear what they were saying, but you could be sure it was vile. If they didn't say anything, they laughed and vileness spread out from them – poison – just the same. It was only after Marietta was saved that she could walk right past them. Armed by God, she walked through their midst and nothing stuck to her, nothing scorched her; she was safe as Daniel.

Now she turned and ran, straight back the way she had come. Up the hill, running to get home. She thought she had made a mistake leaving her mother. Why did her mother tell her to go? Why did she want her father? Quite possibly so that she could greet him with the sight of her own warm body swinging on the end of a rope. Marietta should have stayed – she should have stayed and talked her mother out of it. She should have run to Mrs. Sutcliffe, or any neighbor, not wasted time this way. She hadn't thought who could help, who could even believe what she was talking about. She had the idea that all families
except her own lived in peace, that threats and miseries didn't exist in other people's houses, and couldn't be explained there.

A train was coming into town. Marietta had to wait. Passengers looked out at her from its windows. She broke out wailing in the faces of those strangers. When the train passed, she continued up the hill – a spectacle, with her hair uncombed, her feet bare and muddy, in her nightgown, with a wild, wet face. By the time she ran into her own yard, in sight of the barn, she was howling. “Mama!” she was howling. “Mama!”

Nobody was there. The chair was standing just where it had been before. The rope was dangling over the back of it. Marietta was sure that her mother had gone ahead and done it. Her mother was already dead – she had been cut down and taken away.

But warm, fat hands settled down on her shoulders, and Mrs. Sutcliffe said, “Marietta. Stop the noise. Marietta. Child. Stop the crying. Come inside. She is well, Marietta. Come inside and you will see.”

Mrs. Sutcliffe's foreign voice said, “Mari-et-cha,” giving the name a rich, important sound. She was as kind as could be. When Marietta lived with the Sutcliffes later, she was treated as the daughter of the household, and it was a household just as peaceful and comfortable as she had imagined other households to be. But she never felt like a daughter there.