Unless (6 page)

What’s confusing to people is that I’ve taken his name. I grew up as Reta Summers and when I was eighteen with long straight brown hair down to my waist and enrolled in French studies, I met a medical student named Tom
Winters, and so we had on our hands a “situation.” We could become a standing joke or else one of us could change seasons. At the time this name business seemed an enormous problem, and it’s only recently that I’ve been able to reel off a fast and funny account of the dilemma and how we solved it. I went to court and signed some papers; that was it, but you would have thought at the time that I’d sacrificed body parts. (I grew up, after all, listening to Helen Reddy singing “I Am Woman.”) We are, both of us,
soixante-huitards
in spirit, and I suppose we will remain so all our lives. In truth, I was only twelve years old in 1968, but the potential of rebellion had spiked me even then, what it could be used for or stored against and how we have to live inside the history we’re given, but must resist, like radicals, being made into mere creatures of a mere era.

Our house is full of rough corners that seem to me just about to come into their full beauty. I often think of how Vicente Verdú, the Spanish writer, spoke of houses as existing between reality and desire, what we want and what we already have. Probably this old house is not as lovely as I believe. My eyes are curtained over. I used to be able to see the separate rooms with their colours and spaces, but now I can’t. I’ve overvalued its woody, whorled coves and harbours, convincing myself of an architectural spaciousness and, at the same time, coziness, when I really, long ago, should have pursued some professional decorating advice. The word
cozy
cannot be translated into French; I’ve often had this discussion with Danielle Westerman, not that
cozy
is a word that crops up frequently in her stern essays. There is no French word for
reckless
, either, which is curious when you think that the French are, stereotypically at least, a reckless people.

It’s highly unlikely that Mrs. McGinn went to that 1961 baby shower for her friend Georgia. The envelope was still sealed, after all, when I discovered it. No one in the family would have deliberately hidden the note from her. It simply went astray as small bits tend to do in a busy house, getting separated from the rest of the mail, carried into this unlikely room where it became lost and, curiously, preserved.

It mattered so little, this 1961 women-only social evening. John Fitzgerald Kennedy was president of the United States. The country was exploding with consciousness and guilt. There were marches in the streets; intelligent, responsible people were willing to spend months in jail. Around the world the political forces eclipsed an event as neutral and trivial and minuscule as a baby shower in a small Canadian town; a lost invitation weighed nothing at all on the scale of human concerns.

But maybe, if Mrs. McGinn happened to be a certain kind of woman, then maybe she had a good, affectionate friend who phoned to remind her of the event. March is a dreary month in our part of the world, with its blackened snow and random melts. The faint feminism of the early
sixties had not yet ignited for women like Lillian (?) McGinn. Feminism was in its chrysalis stage, and Lillian was adrift between generations and between seasons. Probably she still wore a girdle and used a diaphragm to prevent further pregnancies. The house was drafty and the children were churlish. An evening social occasion would be welcome. Mrs. McGinn, standing at the green sink and slicing her beans, might be thrilled to be invited out for a shower and to know that an invitation had been sent, even though it had been mislaid somehow. She would be grateful for the telephone reminder and feel relief from the thoughts that preyed on her. She would rush her family through dinner and make a stab at the supper dishes, getting them soaking in Ivory Liquid at the very least. Or maybe, just this once, a teenaged daughter, overburdened with her own unhappiness and her concern about tomorrow’s biology test, would pitch in and offer to help. “Let me,” she would say to her featureless (to her) mother. “You go to your thingamajig.” The daughter, who in my mind rather resembles Natalie, would feign disinterest but be moved at the same time by her own curiosity about the communal lives of adult women. And perhaps, if she were at all sensitive, she would feel the invisible wave of distress in the house; something was wrong with her mother, some element unanswered.

She would be a daughter who understood nothing about the care of a house. Her bedsheets in that upstairs bedroom—
the same room Natalie has occupied all these years, going straight from a crib into a junior bed—were changed regularly, delivered crisp and fresh, but she has never considered the notion of domestic maintenance, and why should she?

“Leave the kitchen to me,” Mrs. McGinn’s daughter might have commanded her mother in March of 1961, speaking in an exasperated tone, exactly like Christine’s, wanting to prod a troubling root of kindness that she feels but can’t yet quite claim. “I’ll look after the dishes.”

A house requires care. Until recently the Merry Maids came and cleaned our house twice a month, but now I call on them less and less frequently. Their van rolling into our driveway, the women’s muscles and buoyancy and booming equipment wear me out. I mostly look after the house myself. I deal with the dust and the dog hairs, wearing my oldest jeans and a cotton sweater coming unknit at the cuffs. Cleaning gives me pleasure, which I’m reluctant to admit and hardly ever do, but here, in my thoughts, I will register the fact: dusting, waxing, and polishing offer rewards. Quite a lot of people would agree with this if pressed, though vacuuming is too loud and cumbersome to enjoy. I especially love the manoeuvring of my dust mop over the old oak floors. (It is illegal to shake a dust mop out of a window in New York, and probably even in Toronto; I read that somewhere.) Those Buddhist monks I saw not long ago on a TV documentary devote two hours to morning meditation, followed by one hour of serious
cleaning. Saffron-robed and their shaved heads gleaming, they actually go out into the world each day with buckets and rags, and they clean things, anything that needs cleaning, a wall or an old fence, whatever presents threat or disorder. I’m beginning to understand where this might take them.

With my dampened dust cloth in hand I’m keeping myself going. I reach under the sink and polish that hard-to-get-to piece of elbow pipe. Tomorrow I’m planning to dust the basement stairs, swiftly, but getting into the corners.

I’m pot so thick that I can’t put the pieces of my odd obsession together, wood and bone, plumbing and blood. To paraphrase Danielle Westerman, we don’t make metaphors in order to distract ourselves. Metaphors hold their own power over us, even without their fugitive gestures. They’re as real as the peony bushes we observe when we’re children, lying flat on the grass and looking straight up to the undersides of leaves and petals and marvelling: Oh, this is secret territory, we think, an inverted world grown-ups can’t see, its beetles, its worms, its ant colonies, its sweet-sour smell of putrefaction. But, in fact, everyone knows about this palpable world; it stands for nothing but the world itself.

I dust and polish this house of mine so that I’ll be able to seal it from damage. If I commit myself to its meticulous care, I will claim back my daughter Norah, gone to goodness. The soiling sickness that started with one wayward idea and then the spreading filaments of infection, the absurd
notion—Tao?—that silence is wiser than words, inaction better than action—this is what I work against. And probably, especially lately, I clean for the shadow of Mrs. McGinn, too, wanting to drop a curtsey in her direction. Yes, it was worth it, I long to tell her, all that anxiety and confusion. I’m young enough that I still sigh out: what is the point? but old enough not to expect an answer.

I hurry with this work. I hurry through each hour. Every day I glance at the oak banister. Hands have run up and down its smoothed curves, giving it the look of a living organism. This banister has provided steady support, all the while looking graceful and giving off reflected light, and resisting with its continuity the immensity of ordinary human loneliness. Why would I not out of admiration stroke the silky surfaces now and then; every day, in fact? I won’t even mention the swift, transitory reward of lemon spray wax. Danielle Westerman and I have discussed the matter of housework. Not surprisingly, she, always looking a little
dérisoire
, believes that women have been enslaved by their possessions. Acquiring and then tending—these eat up a woman’s creativity, anyone’s creativity. But I’ve watched the way she arranges articles on a shelf, and how carefully she sets a table, even when it is just me coming into Toronto to have lunch in her sunroom.

Her views often surprise me, though I like to think I know her well, and despite the forty years between us. Dr. Westerman: poet, essayist, feminist survivor, holder of
twenty-seven honorary degrees. “It might be better,” I said once, pointing to a place in her first volume of memoirs and trying not to sound overly expository, “to use the word
brain
here instead of
heart
.”

She gave me a swift questioning look, the blue-veined eyelids sliding up. Now what? I explained that referring to the heart as the seat of feeling has been out of fashion for some time, condemned by critics as being fey, thought to be precious. She considered this for a second, then smiled at me with querulous affection, and placed her hand on her breast. “But this is where I feel pain,” she said. “And tenderness.”

I let it go. A writer’s
partis pris
are always—must be—accommodated by her translator. I know that much after all these years.

There are other things I could do with my time besides clean my house. There’s that book on animals in Shakespeare, the companion volume to my
Shakespeare and Flowers
. Or I could finish my translation of the fourth and final volume of Westerman’s memoirs, which would take me about six months. Instead I’m writing a second novel, which is going slowly because I wake up in the morning anxious, instead, to dean my house. I’d like to go at it with Q-rips, with toothpicks, every crack and corner scoured. Mention a new cleaning product and I yearn to hold it in my hand; I can’t stop. Each day I open my eyes and comfort myself with the tasks that I will accomplish. It’s necessary, I’m finding, to learn devious means of consoling oneself and also necessary
to forgive one’s own eccentricities. In the afternoon, after a standing-up lunch of cheese and crackers, I get to my novel and produce, on a good day, two pages, sometimes three or four. I perch on my Freedom Chair and think: Here I am. A woman seated. A woman thinking. But I’m always rushed, always distracted. Tuesdays I meet my friends for coffee in Orangetown, Wednesdays I go to Toronto, every second Thursday afternoon is the Library Board meeting.

Last Friday, after days spent at home waiting for a phone call from Mrs. Quinn at the Promise Hostel—which yielded nothing but the fact that nothing had changed—I went into Toronto with Tom to a one-day trilobite conference at the museum; and even attended a session, thinking it might provide distraction. A paleontologist, a woman called Margaret Henriksen, from Minneapolis, lectured in a darkened room, and illustrated her talk with a digital representation of a trilobite folding itself into a little ball. No one has ever seen a trilobite, since they exist only in the fossil record, but the sections of its bony thorax recorded in stone were so perfectly made that, when threatened, these creatures were able to curl up, each segment nesting into the next and protecting the soft animal underbodies. This act is called enrolment, a rather common behaviour for arthropods, and it seems to me that this is what Tom has been doing these past weeks. I clean my house and he “enrols” into a silence that carries him further away from
me than the fleeting figure of Mrs. McGinn, who rests like a dust mote in the corner of my eye, wondering why she was not invited to her friends baby shower on that March evening back in 1961. It nags at her. She is disappointed in herself. Her life has been burning up one day at a time—she understands this for the first time—and she’s swallowed the flames without blinking. Now, suddenly, this emptiness. Nothing has prepared her for the wide, grey simplicity of sadness and for the knowledge that this is what the rest of her life will be like, living in a falling-apart house that wishes she weren’t there.

After the conference in Toronto, some trilobite friends from England wanted to go for a meal at a place called the Frontier Bar on Bloor Street West, where the theme is Wild West. They’d read about it in a tour guide and thought it might be amusing.

Everything’s in your face at the Frontier Bar—from the cowhides nailed to the walls to the swizzle sticks topped with little plastic cowboy hats. The drinks have names like Rodeo Rumba and Crazy Heehaw, and we felt just a little effete ordering our bottle of good white wine. Before we said goodnight at the end of the evening, I excused myself to go to the women’s washroom (the Cowgals’ Corral), and there I found, on the back of each cubicle door, a tiny blackboard supplied with chalk, a ploy by the management to avoid the defacing of property.

I’ve often talked to Tom about the graffiti found in public bathrooms; we’ve compared notes. The words women write on walls are so touchingly sweet, so innocent. Tom can hardly believe it. “Tomorrow is cancelled,” I saw once. And another time, “Saskatchewan Libre!” Once, a little poem. “If you sprinkle / when you tinkle / Please be a sweetie / and wipe the seatie.” I love especially the slightly off witticisms, the thoughts that seemed unable to complete themselves except in their whittled-down elliptical, impermanent forms.

I’d never before felt an urge to add to the literature of washroom walls, but that night, at the Frontier Bar, I picked up the piece of chalk without a moment’s hesitation, my head a ringing vessel of pain, and my words ready.

First, though, I wiped the little slate clean with a dampened paper towel, obliterating “Hi, Mom” and “Lori farts” and leaving myself a clear space. “My heart is broken,” I wrote in block letters, moved by an impulse I would later recognize as dramatic, childish, indulgent, grandiose and powerful. Then, a whimsical afterthought: I drew a little heart in the corner and put a jagged line through it, acutely aware of the facile quality of the draftsmanship.