All the king's men

Chapter Seven

After my visit to Anne Stanton's apartment that morning in late May, I was out of town for a while, about eight days. I left her apartment that morning and went down to the bank and drew out some money and got my car out of the garage and packed a bag and was headed out. I was headed out down a long bone-white road, straight as a string and smooth as glass and glittering and wavering in the heat and humming under the tires like a plucked nerve. I was doing seventy-five but I never seemed to catch up with the pool which seemed to be over the road just this side of the horizon. Then, after a while, the sun was in my eyes, for I was driving west. So I pulled the sun screen down and squinted and put the throttle to the floor. And kept on moving west. For West is where we all plan to go some day. It is where you go when the land gives out and the old-field pines encroach. It is where you go when you get the letter saying: _Flee, all is discovered__. It is where you go when you look down at the blade in your hand and see the blood on it. It is where you go when you are told that you are a bubble on the tide of empire. It is where you go when you hear that thar's gold in them-thar hills. It is where you go to grow up with the country. It is where you go to spend your old age. Or it is just where you go.

It was just where I went.

The second day I was in Texas. I was traveling through the part where the flat-footed, bilious, frog-sticker-toting Baptist biscuit-eaters live. Then I was traveling through the part where the crook-legged, high-heeled, gun-wearing, spick-killing, callous-rumped sons of the range live and crowd the drugstore on Saturday night and then all go round the corner to see episode three of "Vengeance on Vinegar Creek," starring Gene Autry as Borax Pete. But over both parts, the sky was tall hot brass by day and black velvet by night, and Coca Cola is all a man needs to live on. Then I was traveling through New Mexico, which is a land of total and magnificent emptiness with a little white filling station flung down on the sand like a sun-bleached cow skull by the trail, with far to the north a valiant remnant of the heroes of the Battle of Montmartre in a last bivouac wearing huaraches and hammered silver and trying to strike up conversations with Hopis on street corners. Then Arizona, which is grandeur and the slow incredulous stare of sheep, until you hit the Mojave. You cross the Mojave at night and even at night your breath rasps your gullet as though you were a sword swallower who had got hold of a hack-saw blade by mistake, and in the darkness the hunched rock and towering cactus loom at you with the shapes of a visceral, Freudian nightmare.

Then California.

Then Long Beach, which is the essence of California. I know because I have never seen any of California except Long Beach and so am not distracted by competing claims. I was in Long Beach thirty-six hours, and spent all of that time in a hotel room, except for forty minutes in a barbershop off the lobby of the hotel.

I had had a puncture in the morning and so didn't hit Long Beach till about evening. I drank a mild shake, bought a bottle of bourbon, and went up to my room. I hadn't had a drop the whole trip. I hadn't wanted a drop. I hadn't wanted anything, except the hum of the motor and the lull of the car and I had had that. But now I knew that if I didn't drink that bourbon, as soon as I shut my eyes to go to sleep the whole hot and heaving continent would begin charging at me out of the dark. So I took some, took a bath, and then lay on the bed, with my light off, watching the neon sign across the street flare on and off to the time of my heartbeat, and drinking out of the bottle, which, between times, I set on the floor by the bed.

I got a good sleep out of it. I didn't wake up till noon the next day. Then I had breakfast sent up and a pile of newspapers, for it was Sunday. I read the papers, which proved that California was just like any place else, or wanted to think the same things about itself, and then I listened to the radio till the neon sign began to flare on and off again to the time of my heartbeat, and then I ordered up some food, ate it, and put myself to sleep again.

The next morning I headed back.

I was headed back and was no longer remembering the things which I had remembered coming out.

For example. But I cannot give you an example. It was not so much any one example, any one event, which I recollected which was important, but the flow, the texture of the events, for meaning is never in the event but in the motion through event. Otherwise we could isolate an instant in the event and say that this is the event itself. The meaning. But we cannot do that. For it is the motion which is important. And I was moving. I was moving West at seventy-five miles an hour, through a blur of million-dollar landscape and heroic history, and I was moving back through time into my memory. They say the drowning man relives his life as he drowns. Well, I was not drowning in water, but I was drowning in West. I drowned westward through the hot brass days and black velvet nights. It took me seventy-eight hours to drown. For my body to sink down to the very bottom of West and lie in the motionless ooze of History, naked on a hotel bed in Long Beach, California.

To the hum and lull of the car the past unrolled in my head like a film. It was like a showing of a family movie, the kind the advertisements tell you to keep so that you will have a record of the day Susie took her first little toddle and the day Johnny went off to kindergarten and the day you went up Pike' Peak and the day of the picnic on the old home farm and the day you were made chief sales manager and bought your first Buick. The picture on the advertisement always shows a dignified, gray-haired, kindly old gent, the kind you find on the whisky ad (or a gray-haired, kindly, sweet-faced old biddy), looking at the home movie and dreaming gently back over the years. Well, I was not gray-haired or dignified or kindly or sweet-faced, but I did have a showing of my home movie and dreamed gently back over the years. Therefore, if you have any home movies, I earnestly advise you to burn them and to be baptized to get born again.

I dreamed gently back over the years. And the stocky man with the black coat and spectacles leaned over me as I sat with my colored crayons on the rug before the fire and he held me the candy and said, "Just one bite, now, for supper's almost ready." And the woman with the pale hair and the blue eyes and the famished cheeks leaned over me and kissed me good night and left the sweet smell in the dark after the light was out. And Judge Irwin leaned at me in the gray dawn light, saying, "You ought to have led that duck more, Jack. You got to lead a duck, son," And Count Covelli sat straight in an expensive chair in the long white room and smiled from under clipped black mustache and in one hand–the smallish, strong hand which could make a man wince at its clasp–held the glass and with the other stroked the big cat on his knee. And there was the Young Executive with his hair laid on his round skull like taffy. And Adam Stanton and I drifted in the yawl, far out, while the white sails hung limp in the breathless air and the sea was like a hot glass and the sun burned like a barn on the western horizon. And always there was Anne Stanton.

Little girls wear white dresses with skirts that flare out to show their funny little knees, and they wear round-toed black patent-leather slippers held by a one-button strap, and their white socks are held up by a dab of soap, and their hair hangs down the back in braid with a blue ribbon on it. That was Anne Stanton and it was Sunday and she was going to church to sit still as a mouse and rub her tonguetip pensively at the place where she had just lost the tooth. And little girls sit on hassocks and lean their cheeks pensively against the dear father's knee while his hand toys with the silken locks and his voice reads beautiful words. That was Anne Stanton. And little girls are fraidy-cats and try the surf with one toe that first day in spring, and when the surf makes a surprising leap and splashes their thigh with the tingle and cold they squeal and jump up and down on thin little legs like stilts. That was Anne Stanton. Little girls get a smudge of soot on the end of the nose when they roast wieners over the campfire and you–for you are a big boy and do not get soot on your nose–point your finger and sing, "Dirty-Face, Dirty-Face, you are so dirty you are a disgrace!" And then one day when you sing it, the little girl doesn't say a thing back the way she always had, but turns her big eyes on you, out of the thin little smooth face, and her lips quiver an instant so that you think she might cry even tough she is too big for that now, and as the eyes keep fixed o you, the grin dries up on your face and you turn quickly away and pretend to be getting some more wood. That was Anne Stanton.

All the bright days by the water with the gull flashing high were Anne Stanton. But I didn't know it. And all the not bright days with the eaves dripping or the squall driving in from the sea and with the fire on the hearth were Anne Stanton, too. But I didn't know that, either. Then there came a time when the nights were Anne Stanton. But I knew that.

That began the summer when I was twenty-one and Anne Stanton was seventeen. I was back from the University for vacation and I was a grown man who had been around. I got back from the University late in the afternoon, had a quick swim, ate my dinner, and bolted off to the Stanton house to see Adam. I saw him sitting out on the gallery reading a book (Gibbon, I remember) in the long twilight. And I saw Anne. A was sitting in the swing with Adam, when she came out the door. I looked at her and knew that it had been a thousand years since I had last seen her back at Christmas when she has been back at the Landing on vacation from Miss Pound's School. She certainly was not now a little girls wearing round-toed, black-patent-leather, flat-heeled slippers held on by a one-button strap and white socks held up by a dab of soup. She was wearing a white linen dress, cut very straight, and the straightness of the cut and the stiffness of the linen did nothing in the world by suggest by a kind of teasing paradox the curves and softness sheathed by the cloth. She had her hair in a knot on the nape of the neck, and a little white ribbon around her head, and she was smiling at me with a smile which I had known all my life but which was entirely new, and saying, "Hello, Jack," while I held her strong narrow hand in mine and new that summer had come.

It had come. And it was not like any summer which ever had been or was to be again. During the day I would be with Adam a lot, like always, and a lot of the time she would tag along, for that was the way it had been before, she'd tag along for she and Adam were very close. That summer Adam and I would play tennis in the early morning before the sun got high and hot, and she would come to the court with us and sit in the dappled shade of the mimosas and myrtles and watch Adam beat the tar out of me as usual and laugh like bird song and mountain brooks when I got my feet tangle up in my own racket. The she might play me some, for she was pretty good and I was pretty bad. She was pretty god, all right, for a light-built girl, and had a lot of power in those small round arms, which flashed in the morning sun like wings. She was fast on her feet, too, and there would be the whipping skirt like a dance's, and the flicker of white shoes. But of those mornings I chiefly remember her far over yonder across the court, tiptoe, poised to serve, at the moment when the racket is back of her ribbon-bound head, with the pull of the arm lifting the right breast, and the left hand, from which the ball has just risen, still up, as though to pluck something out of the air, the face lifted gravely and intensely to the bright light and the wide sky and the absolutely white ball hung there like the spinning world in the middle of brilliance. Well, that is the classic pose, and it is too bad the Greeks didn't play tennis, for if they had played tennis they would have put Anne Stanton on a Greek vase. But on second thoughts, I guess they would not have done it. That is the moment which, for all its poise, is too airy, too tiptoe, too keyed up. It is the moment just before the stroke, before the explosion, and the Greeks didn't put that kind of moment on a vase. So that moment is not on a vase in a museum, but is inside my head, where nobody else can see it but me. For it was the moment before the explosion, and it did explode. The racked smacked and the sheep gut whanged and the white ball came steaming across at me, and I missed it as like as not, and the game was over, and the set was over, and we all went home, through the motionless heat, for the dew was off the grass now and the morning land breeze had died.

But back then there was always the afternoon. In the afternoon we always went swimming, or sailing and then swimming afterward, all three of us, and sometimes some of the other boys and girls whose folks live down the Row from the Landing or who were visiting there. Then after dinner we would get together again and sit in the shadow on their gallery or mine, or go to a movie, or take a moonlight swim. But one night when I went down, Adam wasn't there–he had had to drive his father somewhere–and so I asked Anne to go down to the Landing to a movie. On the way back, we stopped the car–I had the roadster, for my mother had gone off somewhere with a gang in her big one–and looked at the moonlight on the bay beyond Hardin Point. The moonlight lay on the slightly ruffling water like a swath of brilliant white, cold fire. You expected to see that white fire start eating out over the whole ocean the way fire is a sage field spreads. But it lay there glittering and flickering in a broad nervous swath reaching out yonder to the bright horizon blur.

We sat there in the car, arguing about the movie we had just seen and looking up the swath of light. Then the talking dies away. She had slid down a little in the seat, with her head lying on the top of the back cushion so that now she wasn't looking out toward the horizon but up into the sky–for the top of the roadster was down–with the moonlight pouring down on her face to make it look smooth as marble. I slid down a little, too, and looked up at the sky, and the moonlight poured down over my face, such as it was. I kept thinking that now in a minute I would reached over and take hold. I stole a look sidewise and saw how her face was smooth as marble in the moonlight. And how her hands lay supine on her lap, the fingers curling a little as though to receive a gift. It would be perfectly easy to reach over and take her hand and get started and se where we wound up. For I was thinking in language like that, the stale impersonal language of the College Boy who thinks he's such a God-damned big man.

But I didn't reach over. It seemed a thousand miles across that little patch of leather to where she lay with her head back and her hands in her lap and the moonlight over her face. I didn't know why I didn't reach over. I kept assuring myself that I wasn't timid, wasn't afraid, I said to myself, hell, she was just a kid, what the hell was I hanging back for, all she could do would be to get sore and I could stop if she got sore. Hell, I told myself, she wouldn't get sore anyway, she knew what was up, she knew you didn't sit in parked cars with boys to play checkers in the moonlight, and she had probably been worked over plenty, somebody had probably run the scales on her piano. I played with that thought a second, and then all at once I was both hot and angry. I started up in the seat, a sudden tumult of something in my chest. "Anne," I said, "Anne–" and didn't know what I was going to say.

She turned her face toward me, not lifting her head from the back of the seat, just rolling it on the leather cushion. She lifted a finger to her lip, and said, "Sh, sh!" Then she took the finger away, and smiled directly and simply across the thousand miles of leather cushion between us.

I sank back. We lay there for quite a time, with that space between us, looking up at the moon-drenched sky and hearing the faintest whisper as the water lipped the shingle along the point. The longer we lay there, the bigger the sky seemed. After a long while I stole another sidewise look at Anne. Her eyes were closed, and when I thought that she wasn't looking up into that expanding sky, too, I suddenly felt alone and abandoned. But she opened her eyes–I was spying and saw that happen–and again was looking up into the sky. I lay there and looked up and didn't think of anything in the world.

Back then there was a train that passed the crossing just out of Burden's landing at eleven-forty-five at night. The train always blew for the crossing. It blew that night, and I knew it was eleven-forty-five. And time to go. So I sat up, touched the starter, turned the car around, and headed home. We hadn't said a word and we didn't say a word, until we pulled up in front of the Stanton house. Then Anne slipped out of the car, quick as a wink, poised there a moment on the shell drive, said, "Good night, Jack," in a low voice and with a last flicker of the smile she had smiled at me across the thousand miles of leather cushion two hours back, and ran up the steps of her house, light as a bird. All of this before I had a chance to begin to collect myself.

I gaped at the blackness of the doorway back in the shadow of the gallery–she hadn't turned on a light when she entered–and listen hard as though I were waiting for a signal. But there wasn't a sound except that nameless stir of the night which comes even when there isn't a breath of wind and you are too far from the beach to get the whisper and riffle that is always there, even when the sea is quietest.

Then, after a few minutes, I switched on the motor again, and exploded off the Stanton property with a grind of tires that must have scattered the shells of the drive like spray. On the road down the Row I just pushed the accelerator to the floor board and let all those drowsy bastards up in those white houses have the works. I was letting that cutout snatch them bolt upright in bed like a cannon. I roared on out about ten miles till I hit the pine woods where there wasn't anybody to snatch up except hoot owls and some stray malarial squatter who would be lying off yonder as God's gift to the anopheles in his shack on the edge of the tidelands. So I turned the roadster around and eased on back with the throttle cut down to nothing, just drifting along in the roadster, lying back on the leather, like a boat drifting on a slow current.

At home, as soon as I lay back on my bed, I suddenly remembered–I didn't remember, I saw–Anne's face lying back, with the eyes closed and the moonlight pouring over it, and I remembered that day of the picnic long back–the day when we had swum out in the bay, under the storm clouds, when she had floated on the water, her face turned up to the purple-green darkening sky, her eyes closed, and the white gull passing over, very high. I hadn't thought of that since it happened, I guess, or if had thought of it, it hadn't meant a thing, but all at once, lying there, I had the feeling of being on the teetering verge of a most tremendous discovery. I saw that the moment tonight was just an extension of the moment long back, on the picnic, that this moment tonight had been in that moment all the time, and I hadn't known it, I had dropped it aside or thrown it away, but it had been like a seed you throw away to find, when you come back that way again, that the plant is tall and covered with bloom, or it had been like a little dirt-colored stick you throw into the fire with the other trash, but the thing is dynamite and there is an awful bang.

There was an awful bang. I popped up in bed like those drowsy bastards when I gave them the cutout. But this was more so. I sat up in bed and was absolutely filled with rapture. It wasn't like anything that had ever happened to me. It stopped my breath and I could feel my veins swelling to burst as when you take your deepest dive and think you'll never come up. I felt that I was right on the verge of knowing the real and absolute truth about everything. Just one instant and I would know it. Then I got my breath. "Jesus," I said out loud, "Jesus!" I stretched my arms out as wide as I could, as though I could grab the whole empty air Then I thought of the image of the face on the water, under the purple-green darkening sky, with the white gull flying over. It was almost a shock to remember that, to have the image come back, for the thing which had, apparently, provoked the rapture had itself been lost and forgotten in the rapture which had exploded out into the whole universe. Anyway, now I saw the image again, and all at once the rapture was gone, and I experienced a great tenderness, a tenderness shot through and veined with sadness, as thou the tenderness were the very flesh of my body and the sadness the veins and nerves of it. That sounds absurd, but that was the way it was. And for a fact.

Then I thought, quite objectively as though I were observing the symptoms of a total stranger: _You are in love__.

I was, for a moment, bemused by that thought. That I was in love. And that it wasn't a bit like the way I had thought it would be. I was surprised, and a little bit awed by the fact, like a person who learns unexpectedly that he has inherited a million dollars, all lying up there in the bank for him to draw on, or who learns that the little stitch in the side is cancer and that he is carrying around inside himself that mysterious, apocalyptic, burgeoning thing which is part of himself but is, at the same time, not part of himself but the enemy. I got out of bed, very carefully, handling myself with awe-struck care as though I were a basket of eggs, and went to the window and stared out into the moon-drenched night.

So the College Boy, who had thought he was such a God-damned big man and knew everything and who had, that evening, looked across the little space of leather cushion and had thought the stale impersonal thoughts almost as a kind of duty to the definition of what he considered himself to be–so he hadn't reached out his hand across that little space and now as a result of that fact stood buck-naked in a shadowy room before an open window and stared out into enormous moon-soaked, sea-glittering night while off yonder in the myrtle hedge a mocking bird hysterically commented on the total beauty and justice of the universe.

That was how the nights became Anne Stanton, too. For that night in the roadster, Anne Stanton had done her trick very well. It was a wordless and handless trick, but it didn't need word or hands. She had rolled her head on the leather seat back, and touched her finger to her lips to say, "Sh, sh," and smile. And had sunk her harpoon deeper than ever. Queequeg sunk it, through four feet of blubber to the very quick, but I hadn't really known it until the line played out and the barb jerked in the red meat which was the Me inside of all the blubber of what I had thought I was. And might continue to think I was.

Anne Stanton was the nights, all right. And the days, too, but in the days she was not the total substance, rather the flavor, the distillate, the climate, the breath, without which the rest wouldn't be anything at all. There would be Adam with us often, and sometimes the other people, with books, sandwiches, and a blanket in the pine woods, on the beach, at the tennis courts, on the shadowy gallery with a phonograph going, in the boat, at the movies. But sometimes she would let her book slide down to the blanket and lie back staring up into the high arch and tangle of the pine boughs, and I would begin to spy on her until, in a minute, it would be as though Adam weren't there. Or on the gallery she would be laughing and jabbering with all the others while the phonograph worked away, and then I would catch sight of her suddenly still and pensive, just for a moment it might be, with her eyes fixed off beyond the gallery and the yard, and again, just for that moment, it would be as though Adam and the others weren't there.

Or we would go down to the hotel, where there was a high-dive tower, a good high one because the hotel was pretty swank and had exhibitions and races there now and then. Anne was crazy about diving that summer. She would go up high–she worked up higher and higher, day by day–and stand up there in the sunlight poised there at the very verge. Then when she lifted her arms, I would feel that something was about to snap in me. Then down she would fly, a beautiful swan dive, with her arms wide to emphasize her trim breasts, and her narrow back arched and her long legs close and sweet together. She would come flying down in the sunlight, and as I watched her it would be as though nobody else were there. I would hold my breath till whatever was going to snap inside me snapped. Then she would knife into the water, and he twin heels would draw through the wreath of ripple and the flicker of spray, and be gone. Adam sometimes got sore as hell at her for going up so high. "Oh, Adam," she'd say, "oh, Adam, it'll all right, and it's wonderful!" And up the ladder she'd go. Up and plunge. Up and plunge. Up and plunge. Over and over again. I used to wonder what her face was like just at the moment when she entered the water. What expression was on it.

But sometimes in the day we would be quite literally alone. Sometimes she and I would slip off and go to the pine woods and walk on the soundless matting of needles, holding hands. And then there was a little diving float, with just a single low board, anchored about a hundred yards off the beach, near Stanton slip. Sometimes we would swim out there when other people were pranking on the beach, or when nobody was there, and lie flat on our backs on the float, with our eyes closed, and just the fingertips touching and tingling as though they were peeled skinless with the nerves laid bare, so that every bit of my being was focused there.

At night we were alone pretty often. It had always been Adam and I, with Anne tagging along, and then, all at once, it was Anne and I, and Adam tagging along or, more likely, back up at his house reading Gibbon or Tacitus, for he was great on Rome back then. The change came more easily that I had expected. The day after that night in the roadster I played tennis with them in the morning as usual, and in the afternoon went swimming with them. I found myself watching Anne all the time, but that was the only difference. I couldn't see any change in her. I began to doubt that anything had happened, that I had even taken her to the movie the night before. But I had to see her that night.

I went up to their house just about dusk. She was on the gallery, in the swing. Adam, it turned out, was upstairs writing a letter he had to get off. He would be down in a few minutes, she said. It was something for their father. I didn't sit down, though she asked me. I stood at the top of the steps, very uneasy, just inside the screen door, trying to think up what I would say. Then I blurted out, "Let's go out on the slip, let's walk." And added lamely, "Till Adam comes down."

Without a word, she got up, came to me, gave me her hand–that was her own doing and the fact set blaring and bonging all the fire bells and calliopes and burglar alarms in my system–and walked down the steps with me, down the path, across the road, and toward the slip. We stayed out on the slip a long time. Adam could have written a dozen letters in that time. But nothing happened out on the lip, except that we sat on the end, our feet dangling over, and held hands, and looked over the bay.

On the side of the road toward the bay, just opposite the Stanton house, there was a big thicket of myrtle. When we got there, going hand in hand on our way back to the house, I stopped there in the protection of the shadow, drew her to me a little clumsily and abruptly, I guess, for I had had to key myself up to the act, plotting it all the way up the slip–and kissed her. She didn't put up any protest when I did it, just letting her arms hang limp, but she didn't return the kiss, just taking it submissively like a good little girl doing what she's told. I looked her in the face, after the kiss, and its smoothness was shaded by a reflective, inward expression, the kind of expression you see sometimes on a child's face when it is trying to decide whether or not it likes a new food it has just tasted. And I thought, my God, she probably hadn't been kissed before, even if she was seventeen, or almost, and I almost burst out laughing, the expression on her face was so funny and I was so happy. So I kissed her again. This time she returned the kiss, timidly and tentatively, but she returned it. "Anne," I said, with my heart bursting and my head reeling, "Anne, I love you, I'm crazy about you."

She was clutching my coat, a hand on each side of my chest, just under the shoulder, crumpling up the seersucker and hanging on, with her head, a little to one side and down, pressed weakly against me, as though she were asking pardon for a piece of misbehavior. She didn't answer what I said, and when I tried to lift her face up, she pressed it harder against me and clutched the seersucker tighter. So I stood there and ran my hand over her hair and breathed in the clean odor it had.

Then, after a while which may have been long or short, she disengaged herself from me, and stepped back. "Adam–" she said, "he's waiting–we've got to go."

I followed her across the road and into the gateway of the Stanton drive. A few paces up the drive she hesitated for me to come abreast of her. Then she took my hand, and that way, hand in hand, we proceeded toward the gallery where back in the shadow Adam would be sitting.

Yes, he was sitting there, for I caught the glow of a cigarette, the sudden intensification as the smoker took a deep pull, and then the fading.

Still holding my hand, tighter now as though executing a decision, she mounted the steps of the gallery, opened the screen with her free hand, and entered, drawing me behind her. We stood there for a moment, hand in hand. Then she said, "Hello, Adam," and I said, "Hello, Adam."

"Hello," he said.

We continued to stand there, as though waiting for something. Then she released my hand. "I'm going upstairs," se announced. "Good night, you all." And she was gone with the quick, muted patter of her rubber soles across the boards of the gallery floor and down the hall inside.

I still stood there.

Till Adam said, "Why the hell don't you sit down?"

So I sat down at the other end of the swing from Adam. He tossed a pack of cigarettes my way. I took one, and fumbled in my pockets for a match, but didn't find one. He leaned toward me, struck a match, and held it for my cigarette. As the flame flared there in front of my face while the cigarette caught, I had the feeling that he had put the light there for a purpose, to spy on my face while his own was back out of the direct rays. I had the crazy impulse to jerk back and wipe my hand across my mouth to see if there was any lipstick there.

But the cigarette caught, and I drew my head back from the light and said, "Thanks."

"You're welcome," he replied, and that about wound up the conversation for the evening. There was something for us to say. He could ask me the question which I knew was in his mind. Or I could answer it without his asking it. But neither of us said what was to say. I was afraid he would ask me, for with all my saying to myself that he could go to hell, that it wasn't his business, I had the feeling of guilt as though I had robbed him of something. But at the same time I sat there keyed up and wanting him to ask me, for I wanted to tell somebody that Anne Stanton was wonderful and that I was in love. It was as though the condition of being in love were not completed until I could say to somebody, "Look here,, I'm in love, be damned if I'm not." At the moment it seemed to require the telling for its fulfillment just as much as it would later require the hot, moist contact of bodies. So I sat there in the swing, in the dark, absorbed with the fact that I was in love, wanting to say it to complete it, and not, for the moment, missing Anne, the object of my love, who had gone upstairs to her room. I was so absorbed at the time with the fact of what had happened to me that I did not even wonder why she had gone upstairs. Later I decided that she had gone because, having serve notice to Adam by standing there before him holding my hand, she wanted to leave him alone with that fact, to let him accustom himself to the new structure of our little crystal, our little world.

But maybe, I decided later, much later, years later when it didn't seem that it would ever matter again, she had gone up because she had to be alone, to sit by the window in the unlighted room, looking out on the night, or lying on the bed watching the dark ceiling, to accustom herself to her new self, to see if she could breathe the new air, or sustain herself in the new element or dive and lounge in the new tide of feeling. Maybe she went up there to be alone, absorbed in herself the way a child is absorbed in watching a cocoon gradually part in the dusk to divulge the beautiful moth–the Luna moth again, with its delicate green and silver damp and crumpled but gradually spreading in the dusk, defining itself, slowly fanning the air to make a breeze so slight that you would not be able to fell it on your eyeball were you to lean that close to peer. So maybe she was up in the room trying to discover what her new self was, for when you get in love you are made all over again. The person who loves you has picked you out of the great mass of uncreated clay which is humanity to make something out of, and the poor lumpish clay which is you wants to find out what it has been made into. But at the same time, you, in the act of loving somebody, become real, cease to be a part of the continuum of the uncreated clay and get the breath of life in you and rise up. So you create yourself by creating another person, who, however, has also created you, picked up the you-chunk of clay out of the mass. So there are two you's, the one you yourself create by loving and the one the beloved creates by loving you. The farther those two you's are apart the more the world grinds and grudges on it axis. But if you loved and were loved perfectly then there wouldn't be any difference between the two you's or any distance between them. They would coincide perfectly, there would be a perfect focus, as when a stereoscope gets the twin images on the card into perfect adjustment.

Anyway, Anne Stanton, age seventeen, had probably gone upstairs to be alone because she was, all of a sudden, in love. She was in love with a rather tall, somewhat gangly, slightly stooped youth of twenty-one, with a bony horse face, a big almost askew hook of a nose, dark unkempt hair, dark eyes (not burning and deep like the eyes of Cass Mastern, bur frequently vague or veiled, bloodshot in the mornings, brightening only with excitement), big hands that worked and twisted slowly on his lap, plucking at each other, and twisted big feet that were inclined to shamble–a youth not beautiful, not brilliant, not industrious, not good, not kind, not even ambitious, given to excesses and confusions, thrown between melancholy and random violence, between the cold mire and the hot flame, between curiosity and apathy, between humility and self-love, between yesterday and tomorrow. What she has succeeded in creating out of that unpromising lump of clay scooped up from the general earth, nobody was ever to know.

But in any case, in her loving she was also re-creating herself, and she had gone upstairs to be in the dark and try to learn what that new self was. While downstairs Adam and I sat in the swing on the gallery, not saying a word. That was the evening Adam got counted out for all the other evenings, and out you go, you dirty dishrag, you.

Everybody else got counted out, too, for even on those evenings when a crowd would get together on the Stanton gallery, or my mother's, to play a phonograph and dance (with some of the boys–some of them veterans back from France–slipping off to take a drink from a bottle hidden out there in the crotch of a live oak), Anne and I would count them out. For organdie and seersucker are pretty thin materials, and the only person on the world I ever danced decently with was Anne Stanton and the nights were warm, and I wasn't so much taller than Anne that I could not inhale the full scent of her hair while our music-locked limbs paced out the pattern of our hypnosis and our breathing kept time together, till, after a while, I would pass from an acute awareness of body to a sense of being damned near disembodied, or floating as light as a feather or as light as a big empty-headed balloon held captive to the ground by a single thread, and waiting for a puff of breeze.

Or we would get into the roadster and drive out of the Landing and pull the cutout and tear along, hell-for-leather, or as much hell-for-leather as was possible on the road and with the mechanism of those days, out beyond the houses between the pines and the tidelands, with her head leaned against my shoulder and her hair puffed with the wind and tendrils whipping against my cheek. She would lean there and laugh out and say, "Oh, Jackie, Jackie, it's a wonderful night, it's a wonderful night, it's a wonderful night, say it's a wonderful night, Jackie-boy, say it, say it!" Till I have to say it after her, like a lesson I was learning. Or she would hum or sing a song, one of those off the phonograph–God, what were they then? I don't remember. And maybe let the humming die off, and be perfectly still, with her eyes closed, until I stopped the car at some place where the breeze off the Gulf was enough to blow the mosquitoes away (On nights when there wasn't any breeze, you simply didn't do any stopping.) Sometimes then, when I stopped the car she wouldn't even open her eyes till I had leaned over to kiss her, and I might have to kiss her enough to stop her breath. Or again, she would wait till just the instant before the kiss, then open her eyes wide, all at once, and say, "Boo!" and laugh.. Then she'd be all knees and sharp elbows and little short laughs and giggles and serpentine evasions and strategy worthy of a jujitsu expert when I tried to capture her for a kiss. It was remarkable then how that little seat of the roadster gave as much room for deployment and maneuver as the classic plains of Flanders and how a creature who could lie in your clutch as lissome as willow and soft as silk and cuddly as a kitten could suddenly develop that appalling number of cunning, needle-point elbows and astute knees. While beyond the elbows and knees and sharp fingers, the eyes gleamed in the moonlight, or starlight, through the hair that had worked down loose, and the parted lips emitted the little bursts of breathless laughter, between the chanted words–"I don't–love–Jackie-Boy–nobody loves Jackie-Bird–I don't–love–Jackie-Boy–nobody loves–Jackie-Bird–" Till she would collapse laughing and exhausted into my arms and take her kiss and sigh and whisper, "I love Jackie-Boy," and rub a finger lightly over my face, and repeat, "I love Jackie-Boy–even with his ugly nose!" Then she would give the nose a sound tweak. And I would fondle that hooked, askew, cartilaginous monstrosity, pretending great pain but proud as Punch of the thing simply because she had put her fingers on it.

You never could tell whether it was going to be the long kiss or the furious swirl of elbows and giggles. And it didn't matter much, for it always came to the same thing in the end, for she would lean back with her head on my shoulder and look up at the sky. Between kisses we might not talk at all, or I might quote her poetry–for in those days I used to read some of it and thought I liked it–or we would talk about what we would do after we were married. I had never proposed to her. We simply assumed that we were going to be married and be together always in a world composed of sunlit beaches and moonlit pines by the sea and trips to Europe (where neither of us had ever been) and a house in an oak grove and the leather cushions of a roadster and somewhere a handful of delightful children who remained very vague in my imagination though very vivid in hers, and whose names, in moments when other topics of conversation failed, we would decide on with great debate and solemnity. All of them would have to have Stanton for a middle name. And one of the boys would be named Joel Stanton for the Governor. Of course, the oldest would be named Jack, for me. "Because you are the oldest thing in the world, Jackie-Boy," Anne would say. "The oldest will be named Jackie for you, because you are the oldest thing in the world, you are older than the ocean, you are older than the sky, you are older than the ground, you are older than the trees, and I always loved you and I always pulled your nose because you are an old, old mess, Jackie-Boy, Jackie-Bird, and I love you." So she would pull my nose.

Only once, toward the end of the summer, did she ask me what I was going to do for a living. Lying quietly on my arm, after a long silence, she suddenly said, "Jack, what are you going to do?"

I didn't know what the hell she was taking about. So I said, "What am I going to do? I am going to blow in your ear." And did it.

"What are you going to do? Do for a living? she asked, again.

"Going to blow in your ear for a living," I said.

She didn't smile. "I mean it," she said.

I didn't answer for a minute. Then I said, "I've been thinking I might study law."

She was quiet for a little, then said, "You just thought of that this minute. You just said it."

I had just said it. The subject of my future, as a matter of fact, was one on which I had never cared to dwell. I simply didn't care. I would think that I'd get a job, any kind of a job, and do it and collect my pay and spend the pay and go back to the job on Monday morning, and that would be all. I had no ambitions. But I couldn't sit there and say to Anne, "Oh, I'll just get some kind of job." I had to give the impression of being farsighted and purposeful and competent.

I had played hell giving that impression.

She had seen right through me, like a piece of glass, and there wasn't anything to answer except to say that she was very wrong, that I was indeed going to study law, and what was wrong with studying law, please?

"You just made it up," she repeated stubbornly.

"Hell," I said, "I won't let you starve, I'll give you everything you've got. If you've got to have a big house and a lot of dresses and parties, well, I'll–"

But I didn't get to finish that.

"You know perfectly well, Jack Burden," she interrupted, "I don't have to have anything like that. You're just being mean. You're trying to put me in the wrong. I don't want anything like that. You know I don't. You know I love you and I'll live in a shack and eat red beans if you've got to live that way because what you want to do doesn't make any money. But if you don't want to do anything–even if you do just sort of get a job and have plenty of money–oh, you know what I mean–you know the way some people are." She sat up very straight on the seat of the roadster and her eyes, even in nothing but starlight, flashed that fine seventeen-year-old scorn. Then she fixed the gleam on me very steadily and said in a serious way that made her a funny mixture of a really grown-up woman and a little girl plat-acting, probably with mother's loose clip-clopping high-heeled shoes and a feather boa, a serious way that made her both older and younger that she was–she said, "You know I love you, Jack Burden, and I believe in you, Jack Burden, and you are not going to be like those people, Jack Burden."

I laughed, it was so funny, and tried to kiss her, but she wouldn't let me and became suddenly all sharp elbows and knees working like a mowing machine and in dead earnest and I was the hay crop. I couldn't soothe her. I couldn't even lay a finger on her. She made me take her home, and wouldn't even kiss me good night.

That was the last I heard of it, except for one sentence. The next day, when she and I were lying out on the diving float, she said, all of a sudden, after a long sun-baked silence, "You remember last night?"

I said I did.

"Well," she said, "I meant it. I really did." Then she took her hand out of mine, slipped off the float, and swam away to keep me from making any answer.

I didn't hear any more about that business. And didn't think anything more about it. Anne was just like before, and I fell back into the full flood of the summer, into the full tide of feeling in which we drifted in a kind of breathless ease, like a strong, massive, deep current which didn't hurry but which had an irresistible weight of water behind it, and over which the days and night passed like flickers of light and shade. It was drifting, all right, but not drifting in any nasty pejorative sense, like a waterlogged old skiff drifting in a horsepond or a cake of soap in the gray water before you pull the plug in the bathtub. No, it was a fine, conscious surrender which was a participation in and a willing of the flood itself, and not a surrender at all but an affirmation and all that, like the surrender of the mystic to God, which isn't a surrendering to God any more than it is also a creating of God, for if he loves God he has willed the being of God. Well, in my very surrender I willed and mastered that great current in which I drifted, and over which the days and night flickered, and in which I didn't have to lif a hand to hurry myself, for the current knew its own pace and own time, and would take me with it.

I never tried to hurry anything all summer. Not in the porch swing, or in the pine woods, or on the float at night when we swam out, or in the roadster. Everything that happened came to happen as simply and as naturally and as a gradually as a season coming on or a plant unrolling a leaf or a kitten waking up. And there was a kind of luxuriousness in not rushing things, in not driving toward the hot grip and awkward tussle and the leer for the boys back in the dormitory when you got in, a new sensuality in waiting for the massive current to take you where you belonged and would go in the end. She was young–she seemed younger to me then than she did later on looking back, for that summer I was so sure that I was old and jaded–and she was timid and sensitive and shy, but it wasn't any squealing, squeaking, pullet-squawking, teasing, twitching, oh-that's-not-nice-and-I-never-let-anybody-do-that-before-oh kind of shyness. Perhaps shyness is the wrong word for it, after all. Certainly it is wrong if back behind that word there is any implication or color of shame or fear or desire to be "nice." For in one way, she seemed to be detached from her very slender, compactly made, tight-muscled, soft-fleshed, golden-shouldered body, as though it were an elaborate and cunning mechanism in which she and I shared ownership, which had suddenly dropped to us out of the blue, and which, in our ignorance, we had to study with the greatest patience and most reverent attention lest we miss some minute, scholarly detail without knowledge would be wasted. So it was a period of the most delicate discrimination and subtle investigations, with her seriousness mixed with a graceful gaiety ("Oh, Jackie-Boy, oh, Jackie-Bird, it's a wonderful night, a wonderful night, his eyes are not bad but his nose is a fright"), a gaiety to which the word didn't mean much but the tune meant everything, a tune which seemed to come from the very air as though it were full of invisible strings and she simply reached out at random in the dark to pluck them with an idle familiar finger. And beyond the serious investigations was a kind of level-eyed affection, as natural and simple as the air you breathe, which sometimes didn't seem to belong with our hot-lipped and shallow-breathed occupations, which seemed to be something I had always had and not something connected with the new, mysterious body which now fascinated both her and me. She would sit and cup my head in both her hands and press it against her breast and sing, with the words just a whisper, the rhymes she made up as she went along ("Poor Jackie-Bird, he is a pest, but I'll rock him to sleep in a soft warm nest, and I'll sing a song to Jackie-Bird, the sweetest song he ever heard, poor Jackie-Bird, poor Jackie-Bird"), and after a while the words would just die away until there was only the little crooning sound, with the whisper now and then, "Poor Jackie-Bird, I'll never let anything hurt poor Jackie-Bird." Then after a while I would turn my face a little, toward her body, and kiss it through the light summer cloth and breathe through the cloth, upon it.

We went quite a long way, that summer, and there were times when I was perfectly sure I could have gone farther. When I could have gone the limit. For that fine, slender, compactly made, tight-muscled, soft-fleshed, golden-shouldered mechanism which fascinated Anne Stanton and me, which had dropped to us out of the blue, was a very sensitive and beautifully tuned-up contraption. But maybe I was wrong in that surmise, and maybe I could not have hurried the massive deliberation of that current in which we were caught and suspended, or hurried Anne Stanton's pensive and scholarly assimilation of each minute variation which had to be slowly absorbed into the body of our experience before another could be permitted. It was as though she was aware of a rhythm, a tune, a compulsion, outside of herself, and devoutly followed it in its subtle and winding progression. But wrong or not, I did not put my surmise to the test, for if I myself was not truly aware of that rhythm and compulsion which bemused her, I was aware of her devotion to it, and could find every moment with her full enough. Paradoxically enough, it was when I was away from her, when I was withdrawn from her context, back in my room at night or in the hot early afternoon, after lunch, that I was savagely impatient of the delays and discriminations. This would be especially true at those times when she wouldn't see me for a day, the times which seemed to mark, I came to understand, some stage, some milepost, we had passed. She would simply withdraw herself from me, as she had done that night after we first kissed, and leave me, at first, confused and guilty, but later, as I came to grasp the pattern of things, merely impatient for the next day when she would appear at the court, swinging her racket, her face so smooth, young, healthy and apparently disinterested, though comradely, that I could not equate it with the face I remembered with the eyelids drooping and the damp, starlight-or-moonlight-glistening lips parted for the quick, shallow breath or the unashamed sigh.

But once, late in the summer, I didn't see her for two days. The night before, which was windless, with a full moon and an atmosphere that scarcely cooled or stirred with the coming on of evening, Anne and I had swum down to the hotel diving tower, late enough for everybody else to be out of the water. We lay on the big float for a while, not doing any talking, not touching each other, just lying on our backs and looking up at the sky. After a while she got up and began to climb the tower. I rolled over on my side to watch her. She went up to the twenty-foot board, poised a moment, and did a swan dive, a nice one. Then she went up to the next board. I don't know how many dives she made, but it was a lot. I drowsily watched them, watched her climb up, very slow, rung by rung, the moonlight on the wet fabric of the dark bathing suit making it look like metal, or lacquer, watched her poise at the verge, lift her arms out to the tingling extreme, rise on her toes, leave the board, and seem to hang there an instant, a dully gleaming form so slender and high up it blotted out only a star or two, just an instant before the heady swoop and the clean swishing rip into the water as though she had dived through a great circus hoop covered with black silk spangled with silver.

It happened when she took the highest dive I had ever seen her take, perhaps the highest she was ever to take in her life. I saw her climbing up, slow, then pass the board she had been using, the twenty-foot board, and go on up. I called to her, but she didn't even look at me. I knew she had heard me. I also knew that she would go on where she was going, no matter what I said now, now that she had started. I didn't call again.

She made the dive. I knew it was a good one from the very instant she left the board, but I jumped to my feet, just the same, and stood at the edge of the float, holding my breath, my eyes fixed on her flight. Just as she entered the water, clean as a whistle, I plunged in, too, diving deep and drawing down with my stroke. I saw the silvery tangle and trail of bubbles and the glimmer of her legs and arms in the dark water when she turned. She had gone down deep. Now that she had to go down deep, for she could whisk out shallow if she wanted. But that time–and other times–she went in deep, as if to continue the flight as long as possible through the denser medium. I pulled deep and met her as she began to rise. I put my arms around her waist and drew her to me and put our lips together. She let her arms trail down, loose, not making a motion, while I held her body to me and pressed her face back and our legs trailed down together as we rose slowly and waveringly through the blackness of the water and the silver of ascending bubbles. We rose very slowly, or at least it seemed very slowly, and I was holding my breath so long there was a pain in my chest and a whirling dizziness in my head, but the pain and dizziness had passed the line over into a rapture like that I had had in my room the night I had first taken her to a movie and had stopped on the way home. I thought we would never reach the surface, we rose so slowly.

Then we were there, with the moonlight brittle and fractured on the water all about our eyes. We hung there together, still not breathing, for another moment, then I released her and we fell apart to float on our backs and gaspingly draw the air in and stare up at the high, whirling, star-stung sky.

After a little while I realized that she was swimming away. I thought that she would be taking a few strokes to the float. But when I did finally roll over and swim to the float, she was already at the beach. I saw her pick up her robe, wrap it around her, and stoop to put on her sandals. I called to her. She waved back, then shaking her hair loose out of the cap, began to run up the beach toward home. I swam in, but by the time I reached the beach she was near her house. I knew I couldn't catch her. So I walked on up the beach, taking my time.

I didn't see her for two days after that. Then she appeared at the tennis court, swinging her racket, friendly and cool, getting ready to beat the hell out of me as soon as Adam had given me his lacing.

We were in September then. In a few days Anne was to leave to go back up East to Miss Pound's School. Her father was going to take her a few days early and stop with her in Washington and then in New York before sending her on to Boston, where Miss Pound would get her hooks in. Anne hadn't seemed particularly excited about the trip, or about getting back to Miss Pound. She liked the school fine, she had told me, but I hadn't been overwhelmed by tales of midnight snacks and memory books and that darling teacher of French, and her vocabulary wasn't slimed up with offensive bits of esoteric finishing-school slang. Back in August she had mentioned the plan, the date of departure, but without pleasure or displeasure, as though it were something completely irrelevant to us, the way a young person mentions death. When she mentioned it, I had felt a sudden twinge, but I had managed to put the thought aside, for even though the calendar said it was August I had not been able to believe that the summer, and the world, would ever end. But that morning when Anne reappeared at the tennis court, my first thought was that she would be going soon. It really came over me then. I went up to her, not even saying hello, and took her hand, feeling a kind of unformulated desperation and urgency.

She looked at me with an expression of mild surprise.

"Don't you love me?" I demanded, angrily.

She burst out laughing, and fixed her eyes on me, with the laughter making innocent, mocking crinkles at the outer corners of the absolutely clear eyes. "Sure," she said, laughing, the idle racket swinging in her free hand, "sure, I love you, Jackie-Boy, Jackie-Bird, who said I didn't love poor old Jackie-Bird?"

"Don't be silly," I said, for the language of all our nights in the roadster and in the porch swing suddenly seemed, in the glare of the morning and with the desperation in me, fatuous and loathsome. "Don't be silly," I repeated, "and don't call me Jackie-Bird."

"But you _are__ Jackie-Bird," she replied gravely, but with the crinkles still at the corners of the eyes.

"Don't you love me?" I demanded, ignoring what she had said.

"I love Jackie-Bird," she said, "poor Jackie-Bird."

"God damn it," I said, "don't you love me?"

She studied me a moment, with the crinkles entirely gone now. "Yes," she said then, "I do," and pulled her hand out of mine and walked across the court, with a kind of finality in the stride as though she had made up her mind to go somewhere and it was quite a way and she had better start walking. She only walked across the court, to sit on the bench in the feathery shade of the mimosa, but I watched her as though the court were as wide as the Sahara and she were dwindling into distance.

Then Adam came, and we played tennis.

She had come back that morning, but it was not to be as it had been before. She had come back, all right, but not all of her. She was with me as much as before, but she seemed to be wrapped in her own thoughts, and when I caressed her she seemed to submit out of a sense of duty or at the best out of kindness which wasn't quite contemptuous. That was the way it was for the last week, while the days stayed hot and breathless, and the clouds piled up in the late afternoon as though promising a squall but the squall didn't come, and the nights were as heavy and blunt as a big black silver-dusted grape ready to burst.

Two nights before she was supposed to leave we went in to the Landing to a movie. It was raining when we came out of the movie. We had intended to go for a swim after the show, but we didn't. We had taken lots of swims in the rain, that summer and the summer before when Adam had been with us. We would no doubt have gone that night too, if the rain had been a different kind of rain, if it had been a light sweet rain, falling out of a high sky, the kind that barely whispers with a silky sound on the surface of the water you are swimming in, or if it had been a driven, needle-pointed, cold, cathartic rain to make you want to run along the beach and yell before you took refuge in the sea, or even if it had been a torrent, the kind you get on the Gulf that is like nothing so much as what happens when the bottom finally bursts out of a big paper bag suspended full of water. But it wasn't like any of those kinds of rain. It was as though the sky had sagged down as low as possible and there were a universal leaking of bilge down through the black, gummy, dispirited air.

So we put to top up on the roadster, getting well wet doing it, got in, and drove toward home. The light was blazing in my mother's place and on the gallery, and so we decided to go in there and make some coffee and sandwiches. It was still early, about nine-thirty. My mother, I remembered, had gone down the Row to play bridge with the Pattons and some fellow who was visiting them and was stuck on her. We wheeled up the drive and ground to a stop with a great crunching and spraying of shells and rain water. We ran up the right-hand sweep of the twin flights of steps leading to the gallery, then safe under the gallery roof began to stamp and shake the water from us like dogs. The running and stamping and the wet made Anne's hair come loose. It was hanging down her back, with some odd wet strands plastered across her brow and one over her cheek to make her look like a child coming out of a bath. She laughed as she cocked her head to one side and shook it, the way girls do, to make the hair to fall free. She ran her spread fingers through the hair like a big comb the catch the stray hairpins. A couple of them fell to the gallery floor. "I'm a fright," she said, "I'm an awful fright," and kept on cocking her head over and laughing and looking up at me sidewise with bright eyes. She was more like she had been before.

I said yes, she was a fright, and we went on into the house.

I switched the light off in the big hall, but let the gallery lights stay on, then led the way back to the kitchen, through the dining room and pantry, off to the right of the hall. I put the coffee on to make, and got some food out of the icebox (that was back yonder before electric refrigerators or my mother would have had a brace of them big as a long cabin and surrounded at midnight by ladies with bare shoulders and tipsy men in dinner jackets, just like the ads). While I did the scullery work, Anne was braiding her hair. Apparently she was planning a pigtail on each side, for one was well under way by the time I had the grub laid out on the kitchen table. "Why don' you make the sandwiches and stop primping?" I said.

"All right," she said, "and you'll have to fix the hair."

So while she sat at the table and fixed the sandwiches, I finished the first pigtail. "There ought to be a ribbon on it to hold it together," I said, "or something." I was pressing the end between my fingers to keep it from coming unplaited. Then my eyes fell on a clean dish towel on the rack. I dropped the braid and went over to the towel and tore with the aid of a pocket knife two strips off the end. The dish towel was white with a red border. I came back, repaired the damage to the braid, and tied up the end with the piece of towel in a bowknot. "You'll look like a pickaninny," I said. She giggled and kept on spreading peanut butter.

I saw that the coffee was made, and turned off the gas. Then I began to work on the second pigtail. I leaned over and ran the silky stuff through my fingers, which were all tingling thumbs as rough as sandpaper, separated it into three skeins, and while I folded them over into place, one after another, breathed in the fresh meadowy smell the hair had because it was damp. I was thus occupied when the telephone rang. "Take this," I ordered Anne, "or it'll unravel," and thrust the end of the pigtail at her. Then I went out to the hall.

It was my mother. She and the Pattons and the fellow who was stuck on her, and God knew who else, were going to pile into the car and drive forty miles to La Grange, a joint in the next county, on the road to the city, where there were a few dice tables and a couple of roulette wheels and where the best people rubbed shoulders with the worst and inhaled a communal blue fog of throat-lacerating tobacco smoke and illicit alcohol fumes. She said she didn't know when she'd be in, but to leave the door open, for she forgotten her key. She didn't have to tell me to leave the door open, for nobody ever locked up in the Landing, anyway. She said not to worry, for she felt lucky, and laughed and hung up. Well, she needn't have told me not to worry, either. Not about her luck. She was lucky, all right. She got everything she wanted.

I hung up the receiver and looked up to see, in the light that came to the hall from the door to the back passage, Anne standing a few feet from me, just tying the bow to the end of the second pigtail. "It was my mother," I explained. She and the Pattons are going to La Grange." Then added, "She won't be back till late."

As I said that last, I was suddenly aware of the emptiness of the house, the dark rooms around us, the weight of darkness stored above us, stuffing the rooms and the attic, spilling thickly but weightlessly down the stairs, and aware of the darkness outside. As I looked into Anne's face there wasn't a sound in the house. Outside there was the drip on leaved and on the roof, now subsiding. Then my heart took a big knock, and I felt the new blood coursing through me as though somebody had opened a sluice gate.

I was looking right into Anne's face, and doing so, I knew, and knew that she knew, that this was the moment the great current of the summer had been steadily moving toward all the time. I turned around and moved slowly up the hall toward the foot of the stairs. I could tell at first whether she was following or not. Then I knew she was. I climbed the stairs, and knew she was following about four steps behind me.

At the end of the stairs, in the upstairs hall, I didn't even pause or look around. I moved up the hall, which was pitch dark, toward the door of my room. My hand touched the knob in the dark, and I pushed the door open and entered. There was a little light in the room, for the night had, apparently, cleared for the moment, and too, the glare of the gallery light below was reflected up from the wet leaves. I stood to one side, with my hand still on the knob of the door, while she walked into the room. She didn't even glance at me as she came in. She took about three steps into the room and stopped. I closed the door and moved toward the white-clothed narrow figure; but she did not turn around. I stood behind her, drawing her shoulders back against me and folding my forearms over her bosom and putting my dry lips down against her hair. Meanwhile her arms hung loosely at her sides. We stood that way for a couple of minutes, like lovers in an advertisement watching a dramatic sunset or the ocean or Niagara Falls. But we weren't watching anything. We were standing in the middle of a bare, shadowy room (iron bed, old dresser, pine table, trunks and books, and male gear–for I hadn't let my mother turn that room into a museum and staring across the room out into the dark tops of the trees which all at once began to stir with a wind off the Gulf and rattle in an increase of rain.

Then Anne lifted her arms and folded them before her so that one of her hands was on each of mine. "Jackie," she said in a low voice, which wasn't, however, a whisper, "Jackie-Bird, I came up here."

She had come, all right.

I began to undo the hooks and eyes down the back of the white dress. She stood absolutely still, as good and obedient, with a pigtail hanging back over each shoulder. The fact the light cloth was damp and clingy didn't make things easier. I kept fumbling the God-damned hooks and eyes. Then I came to the sash. It was tied in a bow on the left side, I remember. I got that free, and it fell to the floor, and I began again on the dress. She was as patient, standing there with her arms at her side, a though I were a dressmaker and she were having a fitting. She didn't say anything except when I, in my clumsiness and confusion, tried to pull the dress down over her hips. "No," she said then, in the same low voice as before, "no, this way," and lifted her bare arm above her head. I noticed, even then, that she didn't let the fingers fall loose in the natural way, but held them together on each hand, and almost straight, as though she were lifting her arms for a dive and had stopped just before completing the preliminary posture. I drew the dress over her head and stood there with it clutched foolishly in my hands before I got the wit to lay it across a chair.

She was standing with her arms still up, and I took that as a sign the slip was to come off the same was the dress had. It came off the same way, and with my clumsy, nervous meticulousness I laid it across a chair, as though it might break. She lowered her arms to her sides and stood with the same passivity while I finished the task. While I unhooked the brassière, and lifted it forward so that it would fall down her motionless arms, and release the drawers and drew them down her legs, kneeling on the floor beside her, I was somehow so careful that my fingers never even brushed her skin. My breath was quick and the constriction in my throat and chest was like a knot, but my mind kept flying off to peculiar things–to a book I had started and never finished, to wondering whether I would go back to the dormitory that fall or take a room out, to an algebraic formula I remembered which kept running through my head, to a scene, just the corner of a field with a broken stile, which I tried desperately to locate out of my past. My mind would just take those crazy wild leaps and centrifugal plunges like an animal with one foot in a trap or a June bug on a string.

As I crouched there beside her, just as I had let the batiste drop about her feet, she slipped one foot from its pump–you know how girls do, pressing the heels together a little so that the feet can be drawn out–then the other. I rose to stand beside her, and experienced a kind of shock to find how small she was, standing flat n the floor without her heels. I had seen her that way a thousand times, n a bathing suit, standing barefooted n the sand or float. But it stuck me now.

She stood there, as I rose, with her arms hanging loose as before, then she folded them across her breast and hunched her shoulders a little and gave a slight shiver, and I saw how with the drawing forward of the shoulders the shoulder blades suddenly seemed sharp and frail, with a pigtail hanging down across each one.

It was raining hard outside now, with violent gusts. I noticed that.

Her head was slightly inclined forward, and she apparently saw, or remembered, that she still had on her stockings. Turning from me a little, she leaned forward, and balancing herself on one foot and then the other, drew them off and let tem fall with the sash and the little wispy pile of stuff there before her. Then she stood as before, hunched slightly forward, perhaps shivering, her knees slightly bent and pressed together.

While I stood there fumbling with the buttons on my shirt, tearing one loose because I couldn't seem to get it through the buttonhole (in a momentary lull of the wind and rain, it made a single _tick__ when it struck the uncarpeted floor), and while my mind made the crazy June-bugs leaps and plunges, she walked across to the iron bed and sat down, tentatively, close to the edge, her feet and knees pressed close, her arms still folded and her shoulders slightly hunched as before. She was looking up at me across the space, with a question, or appeal, in her eyes–I couldn't read them in the dimness.

Then, letting one hand drop to the bed for support, she leaned a little sideways, lifted her feet from the floor, still together, and with a gentle, curling motion, lay back on the white counterpane, then punctiliously straightened out and again folded her hands across her bosom, and closed her eyes.

And at the instant when she closed her eyes, as I stare at her, my mind took one of the crazy leaps and I saw her floating in the water, that day of the picnic three years before, with her eyes closed and the violent sky above and the white gull flashing high over, and that face and this face and that scene and this scene seemed to fuse, like superimposed photographs, each keeping its identity but without denying the other. And at that instant, as I stood there with the constriction in my throat that made me swallow hard and with my body tumescent, I looked at her there on the iron bed, then looked suddenly around the big, bare, shadowy room and heard the gusty rain and knew that everything was wrong, completely wrong, how I didn't know, didn't try to know, and that this was somehow not what the summer had been driving toward. That I wasn't going to do it. "Anne," I said, hoarsely, Anne–"

She didn't answer, but she opened her eyes, and looked at me.

"We oughtn't," I began, "we oughtn't–it wouldn't–it wouldn't be–it wouldn't be right." So I used the word _right__, which came to my lips to surprise me, for I hadn't ever thought of anything I had done with Anne Stanton or with any other woman or girl as being right or wrong very much in connection with anything but had simply done the things people do and not done the things people don't do. Which are the things people do and don't do. And I remember now the surprise I felt when I heard that word there in the air, like the echo of a word spoken by somebody else God knows how many years before, and now unfrozen like a word in Baron Munchausen's tale. I couldn't any more have touched her then than if she had been my little sister.

She didn't answer then, but kept on looking at me, with an expression I could not fathom, and as I looked at her I was overwhelmed by a great, warm pity, like a flood in my bosom, and burst out, "Anne–oh, Anne–" and felt the impulse to fling myself to my knees beside the bed and seize my hand.

Now If I had done that, things might have developed differently and more in the normal pattern, for it is probable that when a half-clothed and healthy young man kneels beside a bed and seizes the hand of an entirely unclothed and good-looking young girl, developments will follow the normal pattern sooner or later. And if I had once touched her in the process of undressing her, or even if she had spoken to me to say anything, to call me Jackie-Boy or tell me she loved me, or had giggled or seemed gay, or had even answered me, saying anything whatsoever, when I looked at her lying there on the bed and first cried out her name–if any of those things had happened things might have been different then and forever afterward. But none of these things had happened, and I was not to follow the wild impulse to throw myself on my knees by the bed and take her hand to make the first trifling contact of flesh with flesh, which would probably have been enough. For just as I burst out, "Anne–oh, Anne–" there was the sound of tires on the drive, then the creaking of brakes.

"They've come back, they've come back!" I exclaimed, and Anne rose abruptly to a sitting position on the bed and looked wildly at me.

"Grab your stuff," I ordered, Grab your stuff, and get to the bathroom–you could have been in the bathroom!" I was cramming my shirt in and was trying to buckle my belt all at once and was going toward the door. "I'll be in the kitchen," I said, "I'll be fixing something to eat!"

Then I bolted from the room, and ran down the hall, trying to run on tiptoe, and ran down the back stairs to the back passage and then into the kitchen, where I put a match to the gas under the coffeepot with trembling fingers just as the front screen door slammed and people entered the hall. I sat down at the table and began to make sandwiches, waiting for my heart to stop pounding before I confronted my mother and the Pattons and whatever bastards they had with them.

When my mother came on back to the kitchen, right away, followed by her gang, there I was and there was a nice pile of toothsome sandwiches and they weren't going to La Grange because of the storm and kidded me about being a mind reader and having the sandwiches and coffee all ready for them, and I was charming and gracious to them all. Then Anne came down (she had done a good circumstantial job and flushed the toilet twice to advertise her whereabouts) and they kidded her about her pigtails and her pickaninny hair ribbons, and she didn't say anything but smile shyly the way a nice well-bred young girl should when the grownups take amiable notice of her, and then she sat quietly and ate a sandwich and I couldn't read a thing from her face, not a thing.

Well, that was the way the summer ended. True, there was the rest of the night, with me lying on the iron bed and hearing the leaves drip and cursing myself for a fool and cursing my luck and trying to figure out what Anne had thought and trying to plan how I would get her off alone the next day–the last day. But then I would think how if I had gone on, it had been worse, with my mother coming back and going upstairs with the ladies (as she has done), and with Anne and me trapped there in my room. And as that thought scared me into a cold sweat, I suddenly had the feeling of great wisdom: I had acted rightly and wisely. Therefore we had been saved. And so my luck became my wisdom (as the luck of the damned human race becomes its wisdom and gets into the books and is taught in schools), and then later my wisdom became my nobility, for in the end, a long time after, I got the notion that I had acted out of nobility. Not that I used that word to myself, but I skirted all around its edges and frequently, late at night or after a few drinks, thought better of myself for remembering my behavior on that occasion.

And as my home movie unrolled, as I drove west, I could not help but reflect that if I hadn't been so noble–if it was nobility–everything would have been different. For certainly if Anne and I had been trapped in that room, my mother and Governor Stanton would have set us up in matrimony, even if grimly and grudgingly. And then whatever else might have happened, the thing that had happened to send me west would never have happened. So, I observed, my nobility (or whatever it was) had had in my world almost as dire a consequence as Cass Mastern's sin had had in his. Which may tell something about the two worlds.

There was, as I was saying, the rest of the night after Anne had gone home. But there was also the next day. Anne, however, was busy packing and doing errands in the Landing during the day. I hung around her house, and tried to talk with her, but we never got more than a few words together, except when I drove her down to town. I tried to make her marry me right away, just to go home and get a bag and tear out. She was under age, and all that, but I figured we could get by–in so far as I figured anything. Then let the Governor and my mother raise hell. She only said, "Jackie-Boy, you know I'm going to marry you. Of course, I'm going to marry you forever and ever. But not today." When I kept pestering her, she said, "You go on back to State and finish up and I'll marry you. Even before you get your law degree."

When she said "law degree," I didn't really remember right off what she was talking about. But I remembered in time not to express any surprise and had to be satisfied with that.

I helped her with the errands, took her home, and then went to my house for dinner. After dinner I went to see her early, going in the roadster with the hope, despite the lowering, gusty weather, that we could take a ride. But it was no soap. Some of the boys and girls we had played around with that summer were there to tell Anne good-bye, and some parents, two couples, were there too, to see the Governor (who wasn't Governor any more, but to the Landing would always be the "Governor") and give him a stirrup cup. The young people played a phonograph in the gallery, and the old people, who looked old to us anyway, sat inside and drank gin and tonic. The best I could do was to dance with Anne, who was sweet to me but, who, when I kept asking her to slip out with me, said she couldn't just then, she couldn't because of the guests and she'd try later. But then another storm blew up, for it was right at the equinox, and the parents came out to say they had better go home, and told their particular young ones in a loud voice that they ought to come too and let Anne get some sleep for the trip.

I hung around, but it didn't do any good. Governor Stanton sat in the living room and had another drink by himself and looked over the evening paper. We clung together in the porch swing, and listen to his paper rattle when he turned the page, and whispered that we loved each other. Then we just clung without talking, for the words began to lose their meaning, and listened to the rain beat the trees.

When a little break came in the rain, I got up, went inside, and shook hands with the Governor, then came out, kissed Anne good-bye, and left. It was a stiff cold-lipped kiss, as though the summer never had been at all, or hadn't been what if had been.

I went on back to Stat. I felt that I couldn't wait for Christmas when she would come home. We wrote every day, but the letters began to seem like checks drawn on the summer's capital. There had been a lot in the bank, but it is never good business practice to live on your capital, and I had the feeling, somehow, of living on the capital and watching dwindle. At the same time, I was wild to see her.

I saw her Christmas, for ten days. It wasn't like the summer. She told me she loved me and was going to marry me, and she let me go pretty far. But she wouldn't marry me then, and she wouldn't go the limit. We had a row about that just before she left. She had been willing to in September, but now she wouldn't. It seemed that she was, in a way, breaking a promise, and so I got pretty mad. I told her she didn't love me. She said she did. I wanted to know why she wouldn't go on, then. "It's not because I'm afraid and it's not because I don't love you. Oh, I do love you, Jackie, I do," she said, "and it's not because I'm a nasty old nicey-pants. It's because you are the way you are, Jackie."

"Yeah," I sneered, "you mean you don't trust me, you think I wouldn't marry you and then you'd be the ruined maid."

"I know you'd marry me," she said, "it's just because you're the way you are."

But she wouldn't say any more. So we had an awful row. I went back to State a nervous wreck.

She didn't write to me for a month. I held out about two weeks, and then began to apologize. So the letters began again, and far off somewhere in the great bookkeeping system of the universe somebody punched some red buttons every day on a posting machine and some red figures went on the ledger sheet.

She was back at the Landing in June for a few days. But the Governor was not well and before long the doctors packed him off to Maine to get him out of the heat. He took Anne with him. Before she left, it was just like Christmas, and not like the summer before. It was even worse than Christmas, for I had my B. A. now and it was time for me to get into the Law School. We had a row about that. Or was it about that? She said something about law and I blew up. We made it up, by letter, after she had been in Maine six weeks, and the letters began again and the red figures fell like bloody little bird tracks on that ledger leaf bearing my name in the sky, and I lay around Judge Irwin's house and read American history, not for school, not because I had to, but because I had, by accident, stepped through he thin, crackly crust of the present, and felt the first pull of the quicksand about my ankles. When she came back for a week or so in the fall, with her father, before she went off to some refined female college in Virginia, we spent a lot of time in the bay and in the roadster, and made all the motions we had made before. She flew down from the diving tower like a bird. She lay in my arms in the moonlight, when there was moonlight it was not the way it had been.

For one thing, there was the incident of the new kiss. About the second or third time we were together that fall, she kissed me in a new way, a way she had never used before. And she didn't do it in the discriminating, experimental way she had done thing the summer before. She just did it, in the heat of the moment, you might say. I knew right away she had picked it up from some man up in Maine that summer, some summer bastard in white flannel pants with vowels that clicked like dominoes. I told her I knew she'd been fooling with some fellows in Maine. She didn't deny it, not even for an instant. She just said, "Yes," as cool as could be, and asked me how I knew. I told her. Then she said, "Oh, of course," and I got pretty mad and pulled away from her. She had kept her arm around my neck the whole time.

She just looked at me, still cool, and said, "Jack, I did kiss a man up in Maine. He was a nice boy, Jack, and I liked him a lot and he was fun to be with. But I didn't love him. And if you and I hadn't had that row and I hadn't felt that the world had sort of come to an end and I wouldn't be with you again, I wouldn't have done it. Maybe I wanted to fall in love with him. To fill up the empty place you left, Jackie.–Oh, Jackie, there was a place, an awful big place–" And with a simple unthinking gestured, she laid her right hand on her heart. "But I couldn't," she said. "I couldn't fall in love with him. And I quit kissing him. Even before we made up, you and I." She reached out and laid her right hand on one of my hands, and leaned toward me. "For we did make up, you and I," she asked, "didn't we, Jackie-Bird?" She laughed a quick laugh that welled up in her throat, then asked, "Didn't we, Jackie-Boy? Didn't we? And I'm happy again!"

"Yeah," I said, "we did."

"Aren't you happy?" she asked, leaning.

"Sure," I said, and was as happy, I suppose, as I deserved to be. But the thing was there all the time, breathing back there in the dark of my mind and waiting to pounce. Even though I forgot it was there. Then, the next night when she didn't kiss me in the new way, I felt the thing stir. And the next night. Because she didn't kiss that new way I was even angrier than I had been when she had. So I kissed her the way that man in Maine had done. She drew back from me immediately and said, quite quietly, "I know why you did that."

"You liked it well enough up in Maine," I said.

"Oh, Jackie," she said, "there isn't any place called Maine and never was, there just isn't anything but you and you are all forty-eight states together and I loved you all the time. Now will you be good? And kiss me our way?"

So I did that, but the world is a great snowball rolling downhill and it never rolls uphill to unwind itself back to nothing at all and nonhappening.

Even though the summer just past had not been like the summer before, I went on to State again and got my job hashing and did some newspaper reporting and entered the Law School and loathed it. Meanwhile I wrote letters to Anne at the very refines female college in Virginia, and the capital on which those checks were drawn dwindled and dwindled. Till Christmas, when I came home and Anne came home. I told her I simply loathed the Law School, and expected (and, in a twisted way, wanted) hell to pop. But hell did not pop. She merely reached over and patted my hand. (We were sitting on the couch in the Stanton living room, where we had clutched and clung until we had finally fallen apart from each other, she in a kind of withdrawn melancholy, and I in the fatigue and irritation of desire too long protracted and frustrated.) She patted my hand, and said, "Well, don't study law, then. You don't have to study aw."

"What do you want me to do then?"

"Jackie, I never wanted you to study law. It was your idea."

"Oh, was it?" I asked.

"Yes," she said, and patted my hand again. "Do what you want to, Jackie. I want you to do what you want. And I don't care if you don't make money. I told you long back I'd live on red beans with you."

I got up from the couch. For one reason so she couldn't pat my hand in that way which suddenly reminded me of the way a nurse pats the hand of a patient, a sort of impersonal pat intended to be soothing. I stood well back from her, and spoke firmly. "All right, you'll eat red beans with me. Let's get married. Tomorrow. Tonight. We've fooled around long enough. You say you love me. All right, I love you."

She didn't say anything, but sat there on the couch with her hands lying loose in her lap, and lifted her face, which suddenly was tired and drawn, and looked up at me from eyes which gradually brightened with unshed tears.

"You love me?" I demanded.

She nodded slowly.

"And you know I love you?" I demanded.

She nodded again.

"All right, then?"

"Jack," she said, then stopped for a moment. "Jack, I do love you. I guess I feel sometimes that I might just kiss you and hold you tight and close my eyes and jump off a cliff with you. Or like that time when you dived down to me and we kissed in the water and it seemed like we'd never come up. Do you remember, Jack?"

"Yes," I said.

"I loved you like that then, Jack."

"Now?" I demanded, "what about now?"

"Now, too, Jack, I guess I could do it now, too. But it's different, too."

"Different?"

"Oh, Jack," she exclaimed, and for the first time, at least the first time I ever remembered, made the gesture of lifting her hands to her temples, that gesture to control distraction which was never to become characteristic but which I was to see again. "Oh, Jack," she said again, "things have happened, so much has happened. Since then."

"What has happened?"

"Oh, it's just that getting married isn't like jumping off a cliff. Love isn't either, isn't like jumping off a cliff. Or getting drowned. It's–it's–oh, I don't know how to say it–it's trying to live, it's having a way to live."

"Money," I said, "if it's money you–"

"It's not money," she interrupted, "I don't mean money–oh, Jack, if you only could see what I mean!"

"Well, I'm not going to get a job with Patton or anybody round here. Or have them get me a job. Not even Irwin. I'll get a job, I don't care what kind, but not with them."

"Darling," she said tiredly, "I'm not trying to make you come here. Or get a job with Patton. Or anybody. I want you to do what you want. Just so it is something. Even if you don't make money. I told you I'd live in a shack."

So I went back to the Law School and by dint of consistent effort succeeded in busting out before the end of the year. It took a lot of attention to get busted out, for a man just can't achieve that by the ordinary means at State. He has to work at it. I could have simply resigned, of course, but if you simply drop out or resign, you might be able to come back. So I busted out. Then while I was celebrating my busting out and was pretty sure Anne would be sore and throw me over, I got involved with a pal of mine and two girls and there was a small scandal, which got into the papers. I was an ex-student then, and so the University couldn't do anything about it. Anne didn't do anything either, for I guess I was an ex-Jackie-Bird by that time.

So Anne went her way and I went mine. My way was to work for a newspaper and hang around the lower part of the city and read books on American history. Finally I was taking courses at the University again, just spare time at first, then seriously. I was entering the enchantments of the past. For a while it looked as though Anne and I had made it up, but somehow a gear slipped and it was like before. I didn't finish the Ph. D. So I went back to the _Chronicle__, where I was reported and a damned good one. I even got married. To Lois, who was damned good looking, a lot better looking, I suppose, that Anne, and juicy while Anne was inclined to bone and muscle under flesh. Lois looked edible, and you knew it was tender all the way through, a kind of mystic combination of filet mignon and a Georgia peach aching for the tongue and ready to bleed gold. Lois married me for reasons best known to herself. But one was, I am sure, tat my name was Burden. I am forced to this conclusion by the process of elimination. It could not have been my beauty, grace, charm, wit, intellect, and learning, for, in the first place, my beauty, grace, and charm, were not great, and in the second place, Lois didn't have the slightest interest in wit, intellect, and learning. Even if I had had them. It could not have been my mother's money, for Lois's own widowed mother had plenty of money, which Lois's father had made from a lucky was contract for gravel, a little too late to give those things called advantages to his daughter at her most impressionable age. So it must have been the name of Burden.

Unless it was that Lois was in love with me. I put this possibility in the list merely for logical and schematic completeness, for I am quite sure that the only things Lois knew about love was how to spell the word ad how to make the physiological adjustments traditionally associated with the idea. She did not spell very well, but she made those adjustments with great skill and relish. The relish was nature, but the skill was art, and _ars longa est__. I knew this despite the very expert and sustained histrionics of which Lois was capable. I knew it, but I succeeded in burying it out in the back yard of my mind, like a rat that has been caught in the pantry gnawing the cheese. I didn't really care, I suppose, as long as nothing happened to make me have to face the fact. And once in my arms, Mrs. Burden was very faithful or very discreet, for nothing ever happened. And the arrangement was perfect.

"Jack and I are perfectly adjusted sexually," Lois used to say primly, for she was very advanced in what with her passed for thought and was very sophisticated in her language. She would look around at the faces of the guests in the very slick modernistic apartment (her taste ran that way and not to balconies overlooking charming old patios, and her money paid for rent), and would tell them how perfectly adjusted she and I were, and in telling them would add about two extra chocolate-cream-puff syllables to the word _sexually__. For a while I didn't mind her telling the guests how well adjusted we were. It even flattered my ego, for nobody would mind having his name coupled with that of Lois or having his picture taken with her in a public place. So I would beam modestly around the little groups, while Lois told them about that perfect adjustment. But later it began to annoy me.

As long as I regarded Lois as a beautiful, juicy, soft, vibrant, sweet-smelling, sweet-breathed machine for provoking and satisfying the appetite (and that was the Lois I had married), all was well. But as soon as I began to regard her as a person, trouble began. All would have been well, perhaps, had Lois been struck dumb at puberty. Then no man could have withstood her. But she could talk, and when something talks you sooner or later begin to listen to the sound it makes and begin, even in the face of all other evidence, to regard it as a person. You begin to apply human standards to it, and human element infects your innocent Eden pleasure in the juicy, sweet-breathed machine. I had loved Lois the machine, the way you love the filet mignon or the Georgia peach, but I definitely was not in love with Lois the person. In fact, as the realization grew that the machine-Lois belonged to, and was the instrument of, the person-Lois (or at least to the thing which could talk), the machine-Lois which I had innocently loved began to resemble a beautiful luscious bivalve open and pulsing in the glimmering deep and I some small speck of marine life being drawn remorselessly. Or it resembled the butt of wine in which the duke was drowned, and I was sure-God the Duke of Clarence. Or it resembled a greedy, avid, delicious quagmire, the solemn temples, the gorgeous palaces, towers, battlements, libraries, museums, huts, hospitals, houses, cities, and all the works of man might be swallowed up, with the last luxurious sigh. Or so, I recall, it seemed. But the paradox is that as long as Lois was merely the machine-Lois, as long as she was simply a well-dressed animal, as long as she was really a part of innocent nonhuman nature, as long as I hadn't begun to notice the sounds she made were words, there was no harm in her and no harm in the really extraordinary pleasure she could provide. It was only when I observed that this Lois was mixed up with the other Lois, with certain human traits, that I began to feel that all the works of man might be swallowed up in the quagmire. It is s delicate paradox.

I did not make a decision not to be swallowed up. The instinct for self-preservation is more deep-seated than decision. A man doesn't make a decision to swim when he falls into the creek. He starts kicking. I simply began to wriggle and squirm and kick. First, I recall, there was the matter of Lois's friends (no friends of mine ever set foot in the slick apartment, if as a matter of fact, the people I knew in the city room and the speak-easy and the press club could be called friends). I began to take a distaste to the friends Lois had. There was nothing particularly wrong with them. They were just the ordinary garden variety of human garbage. There were some who had what Lois, who was not too well informed on the subject, regarded as "position" but who didn't have much money and liked Lois's free likker. There were some who didn't have any "position" but who had more money than Lois and knew which fork to use. And there were some who didn't have very much of either position or money, but who had some credit at the better clothing stores and who could be bullied by Lois. They all read _Vanity Fair__ or _Harper's Bazaar__ (according to sex, and some read both) and _Smart Set__, and they quote Dorothy Parker, and those who had been merely to Chicago licked the spittle of those who had been to New York, and those who had been merely to New York licked the spittle of those who had been to Paris. As I say, there was nothing particularly wrong with these people, many of whom were quite agreeable and attractive. The only thing I found wrong with them, I admit as I look back, was that they were Lois's friends. First, I developed a certain reserve in my dealings with them, then I developed an attitude with Lois defined as snotty. After one of my exhibitions Lois would try to discipline me by withholding the sweets of her gender.

That was the matter of Lois's friends. But there was, second, the matter of Lois's apartment. I took a distaste for the apartment. I told Lois I didn't want to live there. That we would get a place on which I could afford to pay the rent out of my salary. We had some rows on that point, rows which I didn't expect to win. Then the sweets would be withheld.

That was the matter of the apartment. But there was, third, the matter of my clothes and what Lois loved to call my "grooming." I was accustomed to thirty-dollar suits, shirts that had been worn two days, a bimonthly haircut, unpolished shoes, a hat with a brim that looped and sagged, and fingernails always broken and sometimes dirty. And I regarded the habit of pressing pants as something which had not come to stay. In the early days when I looked on Lois as merely the luscious machine, I had allowed certain scarcely perceptible changes to be made in my appearance. But as I began to realize that the noises that she made with her mouth resembled human speech and were more rudimentary demands for, or expressions of gratification at, food or copulation, a certain resistance began to grow in me. And as the pressure to improve my grooming increased, so the resistance increased, too. More and more often, accustomed objects of my wardrobe disappeared, to be replaced by proclaimed or surreptitious gifts. Originally I had interpreted these gifts as springing from a misguided and love-inspired attempt to give me pleasure. In the end I understood that my pleasure was the last consideration involved. The crisis came when I polished a shoe with a new tie. A row ensued, the first of many occasioned by the divergence of our tastes in haberdashery. And the sweets would be withheld on that account.

They were withheld on many accounts. But never for very long at a stretch. Sometimes I would capitulate and apologize. My early apologies were sometimes sad and, for the moment, even sincere, though sometimes sincere with a kind of self-pity. Then later, they became masterpieces of irony, _double-entendre__, and histrionics, and I would lie in bed, uttering them, aware that my face in the dark was twisted into a mask of self-congratulatory cunning, bitterness, and loathing. But I wasn't always the one to crack first, for sometimes the juice machine-Lois got the upper hand over the dry and brittle person-Lois. She might utter an invitation in a low voice tense with hatred, and then in the subsequent process avert her face from me, or if she did look at me, she would glare like a cornered animal. Or if she did not invite me, she might collapse in the heat of a scuffle which she had undertaken against me in all seriousness but which had proved too much for the dry and brittle person-Lois and had given the other Lois the upper hand. In any case, whether she cracked or I, we demonstrated, in the midst of tangled bedclothes, unspoken loathing, and the wreckage of somebody's self-respect, that we were, as Lois had affirmed to her guests, perfectly adjusted sexually. And we were.

The fact that the adjustment was so perfect merely meant that in the end, with the deep-seated instinct for self preservation, I was consorting with common whores. I was at that time on the evening edition, and finished my stint about two in the afternoon. After a couple of drinks and a late lunch in a speak-easy, then a couple more drinks and a game of billiards at the press club, I might call on one of my friends. Then at dinner, if I managed to get home to dinner, and in the evening I would study Lois with a clinical detachment and a sense of mystic regeneration. It even got so that almost at will I could produce an optical illusion. I could look at Lois in a certain way and find that she seemed to be withdrawing steadily, the whole room elongating with her, until it would be as though I were staring at her through the wrong end of a pair of binoculars. By this practice I gained great spiritual refreshment. I finally grew so adept at it that I could hear her voice, if it was one of her vituperative and not sullen evenings, as though it were coming from a great distance and were not, as a matter of fact, even addressed to me.

Then came the final phase, the phase of the Great Sleep. Immediately after dinner every evening, I went to bed and slept soundly, with the sweet feeling of ever falling toward the center of delicious blackness, until the last possible moment the next morning. Sometimes I did not even wait for dinner and the pleasure of observing Lois. I would just go to bed. I remember that this became almost a habit in the late spring. I would come in from my afternoon's occupation and draw the shade in the bedroom and go to bed, with the mild light oozing in from around the shade and birds twittering and caroling in the trees of the little park next the apartment building and children calling musically from the playground in the park. Going to bed in the late spring afternoon or just at the beginning of twilight, with those sounds in your ears, gives you a wonderful sense of peace, a peace which must resemble the peace of old age after a well-spent life.

But of course there was Lois. Sometimes she would come into my bedroom–by this time I had moved into the guest room for my serious sleeping–and sit on the edge of the bed and give me long descriptions of myself, rather monotonous descriptions, as a matter of fact, for Lois had little gift of phrase and had to fall back on the three or four classic terms. Sometimes she would beat me with her clenched fists. She had a feeble, female way of using her little white fists. I could sleep through the descriptions, and almost through the beating of the clenched fists on my side or back. Sometimes she would cry and give vent to a great deal of self-pity. Once or twice she even snuggled into bed with me. Sometimes she would open the door to my room and turn up the phonograph in the living room until the joint shook. But no soap. I could sleep through anything, or just about.

Then the morning came when I open my eyes and felt the finger of Fate upon me; I knew the time had come. I got up and packed my suitcase and walked out the door and didn't come back. To the slick apartment and to Lois who was beautiful and to whom I was so perfectly adjusted.

I never saw her again, but I know what she looks like now when cocktails, bonbons, late hours, and nearly forty years have done their work on the peach bloom of cheeks, the pearly, ripe but vigorous bosom, the supple midriff, the brooding, black, velvety-liquid eyes, the bee-stung lips, the luxurious thighs. She sit on a divan somewhere, held more or less in shape by the vigor of a masseuse and the bands of lastex which secretly sheathe her like a mummy, but bloated with the entire universe she has ingurgitated with a long delicious sigh. An now with a hand on which the pointed nails are as red as though she had just used them to rip greedily the guts from a yet living sacrificial fowl, she reaches out to a silver dish to pick up a chocolate. And while the chocolate is yet in mid-air, the lower lip drops open and beyond the purplish tint of the microscopically scaling veneer of lipstick, one sees the damp, paler red, expectant membranes of the mouth, and the faint glitter of a gold filling in the dark, hot orifice.

Good-bye, Lois, and I forgive you everything I did to you.

As for the way Anne Stanton went meanwhile, the story is short. After two years at the refined female college in Virginia, she came home. Adam by this time was in medical school up East. Anne spent a year going to parties in the city, and got engaged. But nothing came of it. He was a decent, intelligent, prosperous fellow, too. After a while there was another engagement, but something happened again. By this time Governor Stanton was nearly an invalid, and Adam was studying abroad. Anne quit going to parties, except an occasional party at the Landing in the summer. She stayed at home with her father, giving him his medicine, patting his pillow, assisting the nurse, reading to him hour by hour, holding his hand in the summer twilights or in the winter evening when the house shook to the blasts off the sea. It took him seven years to die. After the Governor had died in the big tester bed with a lot of expensive medical talent leaning over him, Anne Stanton lived in the house fronting the sea, with only the company of Aunt Sophonisba, a feeble, grumbling, garrulous, and incompetent old colored woman, who combined benevolence and a vengeful tyranny in the ambiguous way known only to old colored women who have spent their lives in affectionate service, in prying, wheedling, and chicanery, in short-lived rebelliousness and long irony, and in secondhand clothes. Then Aunt Sophonisba died, too, and Adam came back from abroad, loaded with academic distinctions and fanatically devoted to his work. Shortly after his return, Anne moved to the city to be near him. By this time she was pushing thirty.

She lived alone in a small apartment in the city. Occasionally she had lunch with some woman who had been a friend of her girlhood but who now inhabited another world. Occasionally she went to a party, at the house of one of the women or at the country club. She became engaged for a third time, this time to a man seventeen or eighteen years older that she, a widower with several children, a substantial lawyer, a pillar of society. He was a good man. He was still vigorous and rather handsome. He even had a sense of humor. But she did not marry him. More and more, as the years passed, she devoted herself to sporadic reading–biography (Daniel Boone or Marie Antoinette), what is called "good fiction," books on social betterment–and to work without pay for a settlement house and an orphanage. She kept her looks very well and continued, in a rather severe way, to pay attention to her dress. There were moments now when her laugh sounded a little hollow and brittle, the laughter of nerves not of mirth or good spirits. Occasionally in a conversation she seemed to lose track and fall into a self-absorption, to star up overwhelmed by embarrassment and unspoken remorse. Occasionally, too, she practiced the gesture of lifting her hands to her brow, one on each side, the fingers just touching the skin or lifting back the hair, the gesture of a delicate distraction. She was pushing thirty-five. But she could still be good company.

That was the Anne Stanton whom Willie Stark had picked out, who had finally betrayed me, or rather, had betrayed an idea of mine which had had more importance for me than I had ever realized.

That was why I had got into my car and headed west, because when you don't like it where you are you always go west. We have always gone west.

That was why I drowned in West and relived my life like a home movie.

That was why I came to lie on a bed in a hotel in Long Beach, California, on the last coast amid the grandeurs of nature. For that is where you come, after you have crossed oceans and eaten stale biscuits while prisoned forty days and nights in a storm-tossed rat-trap, after you have sweated in the greenery and heard the savage whoop, after you have built cabins and cities and bridged rivers, after you have lain with women and scattered children like millet seed in a high wind, after you have composed resonant documents, made noble speeches, and bathed your arms in blood to the elbows, after you have shaken with malaria in the marshes and in the icy wind across the high plains. That is where you come, to lie alone on a bed in a hotel room in Long Beach, California. Where I lay, while outside my window a neon sign flickered on and off to the time of my heart, systole and diastole, flushing and flushing again the gray sea mist with a tint like blood.

I lay there, having drowned in West, my body having drifted down to lie there in the comforting, subliminal ooze of the sea floor of History. Lying there, I had what I thought then was a fine perspective on my own history, and saw that the girl I had known that summer a long time back hadn't been beautiful and charming but had merely been smooth-faced and healthy, and though she had sung songs to Jackie-Bird while she cradled his head on her breast, she hadn't loved him, but had merely had a mysterious itch in the blood and he was handy and the word _love__ was a word for the mysterious itch. And that she had been tormented by the mysterious itch and torn between its impulse and fear, and that all her withholdments and hesitations had not been prompted by some dream of making "love mean something" and making me understand that dream but that they had been prompted by all the fears which the leaning, sibilant, sour-breathed old dough-faces of conventional society had whispered into her ear like fairy godmothers while she lay in her cradle, and that those withholdments and hesitations were no better or worse than the hottest surrender nor better or worse than those withholdments practiced by Lois for other ends. And in the end you could not tell Anne Stanton from Lois Seager, for they were alike, and though the mad poet William Blake wrote a poem to tell the Adversary who is Prince of This World that He could not ever change Kate into Nan, or if indeed the Prince couldn't change Kate into Nan it was only because Kate and Nan were exactly alike to begin with and were, in fact, the same with only the illusory difference of name, which meant nothing, for names meant nothing and all the words we speak meant nothing and there was only the pulse in the blood and the twitch of the nerve, like a dead frog's leg in the experiment when the electric current goes through. So when I lay there on the bed in Long Beach, and shut my eyes, I saw in the inward darkness as in mire the vast heave and contortion of numberless bodies, and limbs detached from bodies, sweating and perhaps bleeding from inexhaustible wounds. But finally this spectacle, which I could summon up by the mere act of closing my eyes, seemed merely funny to me. So I laughed out loud.

I laughed out loud, and then after watching for some time the rhythmic flushing of the sea mist by the neon sign, I went to sleep. When I woke up I made ready to go back to the place and the things I had come.

Years before, a young girl had lain there naked on the iron bed in my room with her eyes closed and her hands folded over her breast, and I had been so struck by the pathos of her submissiveness and her trust in me and of the moment which would plunge her into the full, dark stream of the world that I had hesitated before laying my hand upon her and had, without understanding myself, called out her name. At that time I had had no words for what I felt, and now, too, it is difficult to find them. But lying there, she had seemed to be again the little girl who had, on the day of the picnic, floated on the waters of the bay, with her eyes closed under the stormy and grape-purple sky and the single white gull passing over, very high. As she lay there that image came into my head, and I had wanted to call her name, to tell her something–what, I did not know. She trusted me, but perhaps for that moment of hesitation I did not trust myself, and looked back upon the past as something precious about to be snatched away from us and was afraid of the future. I had not understood then what I think I have now come to understand: that we can keep the past only by having the future, for they are forever tied together. Therefore I lacked some essential confidence in the world and in myself. She came, as time passed, to suspect this fact about me. I do not know that she had words to describe the fact to herself. Or she only had the easy words people gave her: wanting to have a job, studying law, doing something.

We went different ways in the world, as I have said, but I had with always that image of the little girl on the waters of the way, all innocence and trustfulness, under the stormy sky. Then, there came the day when that image was taken from me. I learned that Anne Stanton had become the mistress of Willie Stark, that somehow by an obscure and necessary logic I had handed her over to him. That fact was too horrible to face, for it robbed me of something out of the past by which, unwittingly until that moment, I had been living.

So I fled west from the fact, and in the West, at the end of history, the Last Man on that Last Coast, on my hotel bed, I had discovered the dream. That dream was the dream that all life is but the dark heave of blood and the twitch of the nerve. When you flee as far as you can flee, you will always find that dream, which is the dream of our age. At first, it is always a nightmare and horrible, but in the end it may be, in a special way, rather bracing and tonic. At least, it was so for me for a certain time. It was bracing because after the dream I felt that, in a way, Anne Stanton did not exist. The words _Anne Stanton__ were simply a name for a peculiarly complicated piece of mechanism which should mean nothing whatsoever to Jack Burden, who himself was simply another rather complicated piece of mechanism. At that time, when I first discovered that view of things–really discovered, in my own way and not from any book–I felt that I had discovered the secret source of all strength and all endurance. That dream solves all problems.

At first it was, as I have said, rather bracing and tonic. For after the dream there is no reason why you should not go back and face the fact which you have fled from (even if the fact seems to be that you have, by digging up the truth about the past, handed over Anne Stanton to Willie Stark), for any place to which you may flee will now be like the place from which you have fled, and you might as well go back, after all, to the place where you belong, for nothing was your fault or nobody's fault, for things are always as they are. And you can go back in good spirits, for you will have learned two very great truths. First, that you cannot lose what you have never had. Second, that you are never guilty of a crime which you did not commit. So there is innocence and a new start in the West, after all.

If you believe the dream you dream when you go there.