Part 5 (1/2)

The teacher says it is a pity to be scared of the woods all the time. There are walks you can take there, she says, where wild animals won't bother you, especially if you make a noise and usually you do. She knows the safe paths and she knows the names of all the wildflowers that will be coming out about now. Dogtooth violets. Trilliums. Wake-robins. Purple violets and columbines. Chocolate lilies.

”I think there is another proper name for them, but I like to call them chocolate lilies. It sounds so delicious. Of course, it isn't anything about the way they taste but the way they look. They look just like chocolate with a bit of purple like crushed berries. They're rare but I know where there are some.”

Joyce puts the book down again. Now, now, she really has caught the drift, she can feel the horror coming. The innocent child, the sick and sneaking adult, that seduction. She should have known. All so in fas.h.i.+on these days, practically obligatory. The woods, the spring flowers. Here was where the writer would graft her ugly invention onto the people and the situation she had got out of real life, being too lazy to invent but not to malign.

For some of it was true, certainly. She does remember things she had forgotten. Driving Christine home, and never thinking of her as Christine but always as Edie's child. She remembers how she could not drive into the yard to turn around but always let the child off by the side of the road, then drove another half mile or so to get a place to turn. She does not remember anything about the ice cream. But there used to be a houseboat exactly like that moored down at the dock. Even the flowers, and the sly horrible questioning of the child-that could be true.

She has to continue. She would like to pour more brandy, but she has a rehearsal at nine o'clock in the morning.

Nothing of the sort. She has made another mistake. The woods and the chocolate lilies drop out of the story, the recital is almost pa.s.sed over. School has just ended. And on the Sunday morning after the final week the child is wakened early. She hears the teacher's voice in the yard and she goes to her window. There is the teacher in her car with the window down, talking to Jon. A small U-Haul is attached to the car. Jon is in his bare feet, bare chested, wearing only his jeans. He calls to the child's mother and she comes to the kitchen door and walks a few steps into the yard but does not go up to the car. She is wearing a s.h.i.+rt of Jon's which she uses as a dressing gown. She always wears long sleeves to hide her tattoos.

The conversation is about something in the apartment which Jon promises to pick up. The teacher tosses him the keys. Then he and the child's mother, talking over each other, urge her to take some other things. But the teacher laughs unpleasantly and says, ”All yours.” Soon Jon says, ”Okay. See you,” and the teacher echoes ”See you,” and the child's mother doesn't say anything you can hear. The teacher laughs in the same way she did before and Jon gives her directions about how to turn the car and the U-Haul around in the yard. By this time the child is running downstairs in her pajamas, though she knows the teacher is not in the right mood to talk to her.

”You just missed her,” the child's mother says. ”She had to catch the ferry.”

There is a honk of the horn; Jon raises one hand. Then he comes across the yard and says to the child's mother, ”That's that.”

The child asks if the teacher is going to come back and he says, ”Not likely.”

What takes up another half page is the child's increasing understanding of what has been going on. As she grows older she recalls certain questions, the seemingly haphazard probing there had been. Information-quite useless really-about Jon (whom she does not call Jon) and her mother. When did they get up in the morning? What did they like to eat and did they cook together? What did they listen to on the radio? (Nothing-they had bought a television.) What was the teacher after? Did she hope to hear bad things? Or was she just hungry to hear anything, to be in contact with somebody who slept under the same roof, ate at the same table, was close to those two people daily?

That is what the child can never know. What she can know is how little she herself counted for, how her infatuation was manipulated, what a poor little fool she was. And this fills her with bitterness, certainly it does. Bitterness and pride. She thinks of herself as a person never to be fooled again.

But something happens. And here is the surprise ending. Her feelings about the teacher and that period in her childhood one day change. She doesn't know how or when, but she realizes that she no longer thinks of that time as a cheat. She thinks of the music she painfully learned to play (she gave it up, of course, before she was even in her teens). The buoyancy of her hopes, the streaks of happiness, the curious and delightful names of the forest flowers that she never got to see.

Love. She was glad of it. It almost seemed as if there must be some random and of course unfair thrift in the emotional housekeeping of the world, if the great happiness-however temporary, however flimsy-of one person could come out of the great unhappiness of another.

Why yes, Joyce thinks. Yes.

On Friday afternoon she goes to the bookstore. She brings her book to be signed, as well as a small box from Le Bon Chocolatier. She joins a lineup. She is slightly surprised to see how many people have come. Women of her own age, women older and younger. A few men who are all younger, some accompanying their girlfriends.

The woman who sold Joyce the book recognizes her.

”Good to see you back,” she says. ”Did you read the review in the Globe? Globe? Wow.” Wow.”

Joyce is bewildered, actually trembling a little. She finds it hard to speak.

The woman pa.s.ses along the lineup, explaining that only books bought in this store can be autographed here and that a certain anthology in which one of Christie O'Dell's stories appears is not acceptable, she is sorry.

The woman in front of Joyce is both tall and broad, so she does not get a look at Christie O'Dell until this woman bends forward to place her book on the autographing table. Then she sees a young woman altogether different from the girl on the poster and the girl at the party. The black outfit is gone, also the black hat. Christie O'Dell wears a jacket of rosy-red silk brocade, with tiny gold beads sewn to its lapels. A delicate pink camisole is worn underneath. There is a fresh gold rinse in her hair, gold rings in her ears, and a gold chain fine as a hair around her neck. Her lips glisten like flower petals and her eyelids are shaded with umber.

Well-who wants to buy a book written by a grouch or a loser?

Joyce has not thought out what she will say. She expects it to come to her.

Now the saleswoman is speaking again.

”Have you opened your book to the page where you wish it to be signed?”

Joyce has to set her box down to do that. She can actually feel a flutter in her throat.

Christie O'Dell looks up at her, smiles at her-a smile of polished cordiality, professional disengagement.

”Your name?”

”Just Joyce will be fine.”

Her time is pa.s.sing so quickly.

”You were born in Rough River?”

”No,” says Christie O'Dell with some slight displeasure, or at least some diminis.h.i.+ng of cheer. ”I did live there for a time. Shall I put the date?”

Joyce retrieves her box. At Le Bon Chocolatier they did sell chocolate flowers, but not lilies. Only roses and tulips. So she had bought tulips, which were not actually unlike lilies. Both bulbs.

”I want to thank you for 'Kindertotenlieder,' 'Kindertotenlieder,'” she says so hastily that she almost swallows the long word. ”It means a great deal to me. I brought you a present.”

”Isn't that a wonderful story.” The saleswoman takes the box. ”I'll just hang on to this.”

”It isn't a bomb,” says Joyce with a laugh. ”It's chocolate lilies. Actually tulips. They didn't have lilies so I got tulips, I thought they were the next best thing.”

She notices that the saleswoman is not smiling now but taking a hard look at her. Christie O'Dell says, ”Thank you.”

There is not a sc.r.a.p of recognition in the girl's face. She doesn't know Joyce from years ago in Rough River or two weeks ago at the party. You couldn't even be sure that she had recognized the t.i.tle of her own story. You would think she had nothing to do with it. As if it was just something she wriggled out of and left on the gra.s.s.

Christie O'Dell sits there and writes her name as if that is all the writing she could be responsible for in this world.

”It's been a pleasure to chat with you,” says the saleswoman, still looking at the box which the girl at Le Bon Chocolatier has fixed with a curly yellow ribbon.

Christie O'Dell has raised her eyes to greet the next person in line, and Joyce at last has the sense to move on, before she becomes an object of general amus.e.m.e.nt and her box, G.o.d knows, possibly an object of interest to the police.

Walking up Lonsdale Avenue, walking uphill, she feels flattened, but gradually regains her composure. This might even turn into a funny story that she would tell someday. She wouldn't be surprised.

Wenlock Edge

My mother had a bachelor cousin who used to visit us on the farm once a summer. He brought along his mother, Aunt Nell Botts. His own name was Ernie Botts. He was a tall florid man with a good-natured expression, a big square face, and fair curly hair springing straight up from his forehead. His hands, his fingernails, were as clean as soap, and his hips were a little plump. My name for him-when he was not around-was Earnest Bottom. I had a mean tongue.

But I believed I meant no harm. Hardly any harm. After Aunt Nell Botts died he did not come anymore, but sent a Christmas card.

When I went to college in London-that is, in London, Ontario-where he lived, he started a custom of taking me out to dinner every other Sunday evening. It seemed to me that this was the sort of thing he would do because I was a relative-he would not even have to consider whether we were suited to spending time together. He always took me to the same place, a restaurant called the Old Chelsea, which was upstairs, looking down on Dundas Street. It had velvet curtains, white tablecloths, little rose-shaded lamps on the tables. It probably cost more than he could afford, but I did not think of that, having a country girl's notion that all men who lived in cities, wore a suit every day, and sported such clean fingernails had reached a level of prosperity where indulgences like this were the usual thing.

I had the most exotic offering on the menu, such as chicken vol au vent vol au vent or duck or duck a l'orange a l'orange, while he always ate roast beef. Desserts were wheeled up to the table on a dinner wagon. There was usually a tall coconut cake, custard tarts topped with out-of-season strawberries, chocolate-coated pastry horns full of whipped cream. I took a long time to decide, like a five-year-old with flavors of ice cream, and then on Monday I had to fast all day, to make up for such gorging.

Ernie looked a little too young to be my father. I hoped that n.o.body from the college would see us and think he was my boyfriend.

He inquired about my courses, and nodded seriously when I told him, or reminded him, that I was in Honors English and Philosophy. He didn't roll up his eyes at the information, the way people at home did. He told me that he had a great respect for education and regretted that he did not have the means to continue his own after high school. Instead, he had got a job working for the Canadian National railways, as a ticket salesman. Now he was a supervisor.