Love, Again

And now it was Monday night. It occurred to Sarah, as she waited for the doorbell, that her exhilaration could only be because she actually believed some sort of sensible solution would end this talk. You're living in a dream world, she told herself, and hummed 'Living in a dream world with me.' All the same, she strolled about her rooms arranging sentences in her mind which would be persuasive enough to make Hal — well, make him what?

The bell rang. Peremptory. Hal stood there, stood dramatically, apparently waiting for a formal invitation, while Anne, with glances and smiles that managed to be both apologetic and exasperated, simply came in and stood with her back to both of them, at the window.

'Oh, do come in, Hal,' said Sarah, annoyed with him already. She left him standing and went to sit down. Hal did not at once enter. He was giving her living-room a good once-over: he had not been in it for some time. The room had been variously used in this family flat's long history. It had once been her children's bedroom, but it had been a living room now for years. She was seldom in it. She would not have invited her brother into her study or her bedroom, where he would see photographs, piles of books, all kinds of objects that would emanate the intensely personal look of continuous use, which he would find irritating, even shameless, like underclothes left lying about. As he stood there, he sent suspicious glances to a drawing of Julie pinned on the door. Anne at the window could not be saying more clearly that she did not consider herself part of this scene. She was a tall woman, thin — too thin, a rack of bones — and her pale dry hair was tied back roughly behind her head. As usual she was surrounded by a fug of tobacco smoke, which seemed the very essence of dry exhaustion. She had lit a cigarette already, but furtively: she always smoked with guilt, as if still in her hospital, knowing she was giving a bad example to her patients. At the sight of her, Sarah's compunctious heart reminded her that Anne's perennial exhaustion was why she, Sarah, could never bring herself to 'put her foot down' over Joyce. She had never not pitied her sister-in-law.

And now Hal did come in, letting it be understood by means of compressed lips and raised brows — useful perhaps for indicating to patients that their lifestyle did not meet with his approval? — that it was time his sister took her room in hand. He looked judiciously at a cheerful if faded chair opposite Sarah's — would he allow himself to sit in it? He did.

Hal was not the elder brother, as his air of command might suggest, but three years younger than Sarah. A large comfortable man, with an affable manner; everything about him must give his patients confidence. He was a success in his professional life, and his family life wasn't so bad either, though he had always been unfaithful to Anne. She forgave him. Rather, one deduced that she must, since she did not go in for confidences. Probably she did not care, or perhaps it was that one could not imagine him unforgiven. Now Hal was sitting on the stiff chair, his arms folded high on his chest, legs apart and braced, as if he might otherwise bounce as he sat. He looked like a great delightful baby, with his little wisps of black hair, his fat little tummy, his little chins. He had small black eyes like large raisins.

Sarah offered them drinks, tea, coffee, and so forth, and her brother's impatient shake of the head made it clear he was pressed for time.

'Now look here,' he said. 'We do realize you have always been amazingly good with Joyce.'

There are occasions, when it becomes evident they are bound to develop in a certain way, that have a quite intoxicating momentum.

'Yes, I think I have too.'

'Oh, really, Sarah,' he exclaimed hotly, his wells of patience already overdrawn.

And now he began on the rhetorical statements (the counterpart of her prepared reasonings to him) rehearsed and polished on the way here. They had the theatrical ring which goes with a thoroughly false position. 'You must see that Joyce looks on you as a mother,' he said. 'You have been a mother to her, we both know that.' Here he looked at Joyce's mother, wanting her agreement, but she was smoking furiously, her back turned. 'It really isn't on for you to drop her like this.'

'But I haven't dropped her, any more than you have.'

He registered this shaft with a hostile look and a quiver of his lips which said he felt he was unfairly treated. 'You know very well what I am saying.'

'What you are saying is that I should give up my job and sit here for when she does turn up, even if it is only once in six months for an evening. Because that is what it amounts to.'

'Exactly,' said Anne angrily.

Hal sat puffing his lips out, hugging himself with both arms: he was a threatened man; he had two women against him. 'Why can't you take her with you to rehearsals, that kind of thing?'

'Why don't you take her to your hospital and to Harley Street? Why doesn't Anne give up her job and sit at home waiting for Joyce?'

At this Anne let out a loud theatrical titter. 'Exactly,' she said again, through swirls of smoke. She swatted her hand at the smoke, to show how she deplored her weakness.

'Look, Hal,' said Sarah, keeping her voice down. 'You're talking as if nothing has changed. Well, they have. Joyce is a young woman. She's not a little girl any longer.'

'No,' said Anne, 'he can't see it. Or won't.'

'Oh really,' exploded Hal, and then he collapsed. He let his arms fall, and stared, his face all disconsolate lines.

This man who had all his life been lucky and successful had met something intractable. But the point was, this had happened not this week but years ago. It was as if he had never taken the truth in. 'It is really quite appalling,' he said. 'What are we going to do about it? She runs around with drop-outs and layabouts and all sorts of people.'

'Alcoholics and drug pushers and prostitutes,' said Anne, and at last turned herself around. Her face was flushed, and brave with the determination to have her say. 'Hal, at some point you have to face up to it. There's nothing we can do about Joyce. Short of chaining her down and locking her up. All we can do is to take her in when she does turn up and not lecture her. Why do you always shout at her? No wonder she comes here to Sarah.'

Some people are the moral equivalent of those who have never, ever, been ill in their lives and, when they are at last ill, might even die from the shock. Hal could not face up to it: if he admitted one defeat, what might then follow? He sat silent, breathing heavily, arms hanging, not looking at them. His little pink mouth stood slightly open — like Joyce's, in fact. 'It's awful, awful,' he sighed at last, and got up. He had inwardly shelved the problem, and that was that.

'Yes, dear, it is awful,' said his wife firmly. 'It has always been awful and it will probably go on being awful.'

'Something has to be done about it,' he said, just as if beginning the conversation, and Sarah breathed, 'Good God!' while Anne said, with a tight and derisive smile, 'You two are so funny.'

Sarah felt all the indignation due when one is in the right but being classed with someone in the wrong.

Anne explained apologetically, 'You both seem to think that if you just come up with something, then Joyce will become normal.' She shrugged, gave Sarah an apologetic grimace. Husband and wife went to the door, the big man drifting along beside Anne, his eyes abstracted. He had inwardly removed himself. Sarah was able to visualize furious scenes between these two, when Anne tackled Hal, and Hal simply repeated, 'Yes, we must do something.' For years. Meanwhile good old Sarah looked after Joyce. Nothing at all would change as a result of this talk. Well, something had. Sarah had not before seen that somewhere or other she did believe that Joyce would suddenly become normal, if only they could come up with the right recipe.

The door was shut, and she listened to their feet on the stairs, their voices raised in connubial disagreement.

Sarah sat at her desk and stared into the watery depths of the mirror. She had to do more work on the songs, fitting Julie's words to music and even making some words up. I don't know why it is, Julie had written, and this was when she had just agreed to marry Philippe the master printer,but every scene I am part of, when there are people in it, rejects me. If someone were to reach out a hand to me and I stretched out my hand to him, I know my hand would go into a cloud or a mist, like the spray that lies over my pool when there has been heavy rain in the hills. But suppose in spite of everything my fingers closed over warm fingers? She called the music she wrote that spring 'Songs from a Shore of Ice'.

Sarah began, 'If I reached my hand into cloud or river spray… ' She, Sarah, had found a hand in a cloud or mist — for Stephen had certainly been an unknown — a warm hand, kindly by habit, a strong one, but holding it, she had felt its grasp become desperate. Help me, help me, said that hand.