falling.
The second difficulty is with those who will not tell you the truth. Goldstein was in this category. She told me yes, when she meant no. She went into her little latticed box and how was I to know she was dropping fat tears on to her writing paper while I, she told me later, marched around the fourth gallery like a little sergeant major, ignoring Mr Lo, flattering Emma, going down into the shop to find my son and frightening the customers with my enthusiasm.
Young Hissao, of course, thought the whole thing great fun. He marched up and downstairs with me (whoops-a-daisy) hand in hand. But young Henry and George were not my sort of people. I had looked forward to their friendship but they stood at a distance with their arms pressed against their sides and stared at me with an expression that -had you not known the innocent nature of my work- you could have mistaken for terror. You could already see that their great passion in life would be normality and they would seek out the tiled roof, the small window, the locked door, the clipped hedge, the wife who never farted, lacy pillows on the marital bed. They were frightened by my opening out. They did not see the beauty of the process – how the great four-storey space was filled with dust like an old cathedral and motes of light came slicing into the canyon, as if Jesus Christ himself was standing above the skylight and you might as well know it – it was the skylight I was really interested in, not the kitchen wall. I am not saying that the kitchen wall was not best removed. It was vital. It was, if you like, the Overture. The point is this – that the best approach to opening out is to begin cautiously – you do not, not ever, leap straight to the main performance. A patient man would be wise to begin with a small window and enlarge it a fraction at a time. A less patient man does best to content himself with a wall. This will give the occupants some confidence. They will appreciate that they have previously lived their lives inside a coffin and now they may begin to stretch and breathe. When you have them at this stage you can safely begin to discuss the roof. A roof is a much more emotional matter than a wall, and in Nambucca, for instance, I was just starting to hint at it when Rooney finally won his battle and I was handed my bicycle clips.
So I told no one, not even Goldstein, that I had a plan for the skylight. What I had in mind was to rip off the roof completely and set up a system which would open and shut like an eyelid above us. This sort of idea tends to strike the uneducated as impractical, possibly dangerous, so for the time being I kept it to myself and pottered around with my sledge-hammer.
The wall did not appear to be structural. I went down to Nock amp; Kirby's and bought a wrecking bar and took out the window without much effort. I took the door off its hinges and took out the frame. It was pleasant to do things with my hands after all those years of M. V. Anderson-type activity. I took another stroll down to Nock amp; Kirby's and bought a new hacksaw. Then I came back and took out the old kitchen sink and closed off the water pipes. It was a warm day, so I did not rush at it. I strolled at my grandson's pace. I carried my hat in my hand and my various pieces of shopping under my arm. I nodded to the staff and smiled at those members of my new family whose eyes I could catch. When it was time to get stuck into the wall I took off my jacket and folded it and put it inside Goldstein's apartment. It was dim in there. I did not notice any redness around the eyes. I warned her of impending dust and she looked up and, I thought, smiled. I did not know she was an author. If she had told me, it must have slipped my mind.
It was eleven a. m. precisely when I began my attack. I did not rush at it like a young fool. I opened out from the existing window. The bricks were old and handmade, soft and pink and very crumbly. I took them out slowly, working at it so there was a natural stepped arch left in the wall. By noon I had a space twelve foot wide and I had just decided to leave it at that for the day, to see how it settled, when Goldstein crept up and shouted in my ear.
'Fool,' she said. 'You impossible fool.'
49
Leah had become like the old-maid aunt in a Victorian story, forever puffing up the stairs and down, first awake, last asleep, a repository of patience and kindness, taken for granted, never arousing curiosity except of the most perfunctory sort about her ambitions and her hopes because she showed the world so little sign that she had any.
But she was, of course, beneath her river-smooth exterior, full of the tumbling currents of ambitions that she had been rash enough, gambler enough, to postpone ten years.
She felt, that morning while I consulted about the wall, like a runner who has paced herself to a certain distance and when the distance is extended, cannot run another step. She was exhausted.
I asked her about the wall.
'Oh yes,' she said. 'What a lovely idea.'
She went into her latticed room. She had a mattress there, along one wall, and a desk along the other. It was cramped, but she was used to it. She sat at the desk and arranged her papers as she would on any other morning. She took out yesterday's work and placed it at her left elbow. The tears began to drop and she rubbed them with her finger, as if they were errors to be erased.
Outside she could hear Mr Lo arguing. She did not need to look. It was an amusing performance on the first occasion, but after that the spectacle quickly palled. Mr Lo amused himself, each morning, by playing imaginary baseball. He did not even have a bat. He would walk to the eastern end of the gallery, the opposite end to Herbert Badgery's wall, and position himself above his imaginary plate. It was just as well he did not have a real bat for he would have hit a ladder on the back swing. He never swung quickly, always slowly, and it was hard to ascertain which was a strike and which a ball. It was obviously hard for the umpire too. Mr Lo was always arguing with him and for a quiet man, a polite man, these arguments had a frightening ferocity. Mr Lo bellowed. He stamped and shrieked. Leah did not know what he was saying, but at these moments she felt closest to him.
Mr Lo was like everything in this place. It was easy to understand why he did it. In one way it was perfectly sane and normal, but sometimes you could look at it with that other eye, and it was terrifying to realize this was what your life had become.
Emma was sitting on a big overstuffed armchair in front of her cage – she looked like any overweight woman in a seaside camping ground. Her skin had loosened, her face now showed a tendency to jowliness. She sat, leaning forward on her open thighs, talking on the telephone. She liked to talk on the telephone. Her sister had sent her a Bacchus Marsh phone directory and it was her great pleasure to look through it and telephone people who were often most surprised to hear from her.
Goldstein lit a cigarette and watched. She could hear me talking to Hissao but she blocked that out of her mind – that blowfly noise – and watched Emma who, having finished her first phone conversation of the day, was fossicking in a large cardboard box she always kept near her chair. She took from it a single iridescent pink hair curler and rolled her straight black hair deftly into it. She clipped in a pin and patted it. There was a finickiness, a silly vanity in her actions. That was, at any rate, one way to see it. But the other way was to see her as a great courtesan.
Emma looked up and smiled, presumably at her father-in-law. She then hid her face and retreated, dragging the cardboard box after her, into her cage. She shut the door behind and sat herself on a little stool with a bright blue lambswool cover. She was just a heavily built countrywoman with a pink slip. She had meaty shoulders and fleshy upper arms. Her stomach bulged against the satin of the slip. She leaned forward, pressing her face towards the glass of a small round shaving mirror which was tied – with blue electrical flex – to the wall.
'Yes,' thought Leah Goldstein, 'she is a great courtesan. She is not the most beautiful woman in the world. She is not overendowed with intelligence. Yet her ambitions are quite extraordinary – nothing less than to be adored and worshipped. She is a great artist. Her husband can think of nothing else but having her love him. If she was beautiful everyone would understand. She could lie around in baths of ass's milk and her behaviour would be perfectly normal. They would applaud her and write poetry about her. They would think it quite permissible for her to be her husband's pet.'
But it was not permissible for her, Leah Goldstein, to live her life so uselessly. It was not permissible to be in this undignified position, to be kept by a keeper of pets. She loved Charles, but it was not permissible for her to stay here. And here was this idiot, this fool, making a home for himself, jumping from one prison to another.
It was unbearable.
