Part 13

'Her children arise, and call her blessed; Her husband also, and he praiseth her; --Many daughters have done valiantly, But thou excellest them all.-- Grace is deceitful and beauty is vain; But a woman that feareth the Lord, she shall be praised. Give her of the fruit of her hands; And let her works praise her in the gates.'

II

In the door and the clang again of the bell, a boy with them. A boy they knew--son of their neighbours--big for his years and heavy, with fat lips, eyes clouded, hair black and low over his clouded eyes. Esther alone saw, as he lurched in, one foot dragging always slightly.

He went for little Flora with no greeting for them: familiarly as he knew he would find her, had come so, often.--He loves her. The man who squats on the table and sews smiles on the boy who loves and plays with his child.

"Hello, kid," voice of a thick throat, "look--what I got for you here."

Flora lets the chair of her late love lurch against her back, strike her forward. She does not care. She watches two hands--grey-caked over red--unwrap from paper a dazzle of colours, place it to her eyes on the floor, pull with a string: it has little wheels, it moves!

"Quackle-duck," he announces.

Flora spreads out her hands, sinks on her rump, feels its green head that bobs with purple bill, feels its yellow tail.

"Quackle-duck--yours," says the boy.

She takes the string from his hand. With shoulder and stomach she swings her arm backward and pulls. The duck spurts, bobbing its green long head against her leg.

She plays. The boy on his knees with soiled thick drawers showing between his stockings and his pants plays with her.--

Meyer Lanich did not cease from work, nor his woman from silence. His face was warm in pleasure, watching his child who had a toy and a playmate.--I am all warm and full of love for Herbert Rabinowich: perhaps some day I can show him, or do something for his father. Now there was no way but to go on working, and smile so the pins in his mouth did not prick.

The eyes of Esther drew a line from these two children back to the birth of the one that was hers. She dwelt in a world about the bright small room like the night: in a world that roared and wailed, that reeled with despair of her hope.

She had borne this dirty child all clean beneath her heart. Her belly was sweet and white, it had borne her: her breasts were high and proud, they had emptied, they had come to sag for this dirty child on the floor--face and red lips on a floor that any shoes might step.

Had she not borne a Glory through the world, bearing this stir of perfect flesh? Had she not borne a song through the harsh city? Had she not borne another mite of pain, another fleck of dirt upon the city's shame-heaps?

She lies in her bed burned in sweet pain. Pain wrings her body, wrings her soul like the word of the Lord within lips of Deborah. Her bed with white sheets, her bed with its pool of blood is an altar where she lays forth her Glory which she has walking carried like a song through the harsh city.--What have I mothered but dirt?--

A transfigured world she knows she will soon see. Yes: it is a flat of little light--and the bugs seep in from the other flats no matter how one cleans--it is a man of small grace, it is a world of few windows. But her child will be borne to smite life open wide. Her child shall leap above its father and its mother as the sun above forlorn fields.--She arose from her bed. She held her child in her arms. She walked through the reeling block with feet aflame. She entered the shop.--There--squatting with feet so wide to see--her man: his needle pressed by the selfsame finger. The world was not changed for her child. Behold her child changing--let her sit for ever upon her seat of tears--let her lay like fire to her breast this endless vision of her child changing unto the world.--

--I have no voice, I have no eyes. I am a woman who has lain with the world. The world's voice upon my lips gave my mouth gladness. The world's arms about my flanks gave my flesh glory. I was big with gladness and glory. Joyful I lost in love of my vision my eyes, in love of my song my voice. I have borne another misery into the world.--

Meyer Lanich moves, putting away the trousers he has patched.--O Lord, why must I sew so many hours in order to reap my pain? Why must I work so long, heap the hard wither of so many hours upon my child who can not sleep till I do, in order that all of us may be unhappy?

* * * * *

The clang and the door open. The mother of the boy.

"Oh, here you are! Excuse me, friends. I was worrying over Herbert.--Well, how goes it?"

She smiled and stepped into the room: saw them all.

"All well, Mrs. Rabinowich," said Meyer. "We are so glad when your Herbert comes to play with Florchen."

Mrs. Rabinowich turns the love of her face upon the children who do not attend her. A grey long face, bitterly pock-marked, in a glow of love.

"Look what your Herbert brought her," Meyer sews and smiles. "A toy. He shouldn't, now. Such a thing costs money."

Mrs. Rabinowich puts an anxious finger to her lips.

"Don't," she whispers. "If he wants to, he should. It is lovely that he wants to. There's money enough for such lovely wants.--Well, darling. Won't you come home to bed?"

Herbert does not attend.

His mother sighed--a sigh of great appeasement and of content.--This is my son! She turned to where Esther sat with brooding eyes. Her face was serious now, grey ever, warm with a grey sorrow. Her lips moved: they knew not what to say.

"How are you, Esther?"

"Oh, I am well, Mrs. Rabinowich. Thank you." A voice resonant and deep, a voice mellowed by long keeping in the breast of a woman.

"Why don't you come round, some time, Esther? You know, I should always be so glad to see you."

"Thank you, Mrs. Rabinowich."

"You know--we're just next door," the older woman smiled. "You got time, I think. More time than I."

"Oh, she got time all right!" The sharp words flash from the soft mouth of Meyer, who sews and seems in no way one with the sharp words of his mouth. Esther does not look. She takes the words as if like stones they had fallen in her lap. She smiles away. She is still. And Lotte Rabinowich is still, looking at her with a deep wonder, shaking her head, unappeased in her search.

She turns at last to her boy: relieved.

"Come Herbert, now. Now we really got to go."

She takes his hand that he lets limply rise. She pulls him gently.

"Good night, dear ones.--Do come, some time, Esther--yes?"

"Thank you, Mrs. Rabinowich."

Meyer says: "Let the boy come when he wants. We love to have him."

His mother smiles.--Of course: who would not love to have him? Good heart, fine boy, dear child. "It's long past bedtime. Naughty!" She kisses him.

Herbert, a little like a horse, swings away his heavy head.

They are gone in the bell's jangle.

* * * * *

"What a good boy: what a big-hearted boy!" Meyer said aloud. "I like the boy. He will be strong and a success, you see."

Her words, "I saw him lift the skirt of Flora and peep up," she could not utter. She was silent, seeing the dull boy with the dirty mind, and his mother and Meyer through love thinking him good. What she saw in her silence hurt her.

Her hurt flowed out in fear. She saw her child: a great fear came on Esther.--Flora is small and white, the world is full of men with thick lips, hairy hands, of men who will lift her skirt and kiss her, of men who will press their hairiness against her whiteness.

--There is a Magic, Love, whereby this shame is sweet. Where is it? A world of men with hair and lips against her whiteness. Where is the magic against them? Esther was very afraid. She hated her daughter.

III

Meyer Lanich came down from his table and drew down the wide yellow shade and shut out the night. No more stray customers to enter. He turned the key of the door. He had his back to the door, seeing his work and his child who now sat vacant upon the floor and grimed her eyes with her fists too sleepy to hunt play--seeing his wife. He sought to see this woman who was his wife. To this end came his words, old words, old words he had tried often, often failed with, words that would come again since they were the words of his seeking to find the woman his wife.

"Esther," he said, "it is nine o'clock and I have much work to do--a couple of hours of work.--"--I could work faster alone, it will be midnight so with this pain for ever in my eyes. "Esther won't you go home and put Florchen to bed?"

She looked at him with her full lovely eyes. Why since he saw them lovely could he not see them loving? He had said these words before, so often before. She looked at him.

"Esther," he said, "it is bad for a baby of four to be up so late. It is bad for her to sit around on the floor under the gas--smelling the gas and the gasoline and the steam of the clothes. Can't you consider Flora?"

"I am afraid."

"What is there to be afraid of? Can't you see? Why aren't you afraid of what will happen to Flora? Eh--that don't frighten you, does it? She's a baby. If my Mother could see--"

"Meyer, I can't. Meyer, I can't. You know that I can't."

He waved his hands. She was stiff. They came no nearer one to the other. About them each, two poles, swirled thoughts and feeling--a world that did not touch the other.

He clambered back to his work. The room was hot. The gaslight burned. Against his temples it beat harsh air, harsh light, the acrid smells of his work--against her temples.

Esther sat. The words of her man seeking the woman she was had not found for him but had stirred her. Her breast moved fast, but all else of her was stiff. Stiff, all she moved like a thick river drawn against its flow, drawn mounting to its head.--I cannot go home alone, to the empty hall alone, into the black rooms alone. Against their black the flicker of a match that may go out, the dare of a gas-light that is all white and shrieking with its fear of the black world it is in. She could not go home alone.--For, Esther, in your loneliness you will find your life. I am afraid of my life.

She was caught, she was trapped.--I am miserable. Let me only not move.--Since to move was to break against walls of a trap. Here in the heart of movelessness a little space. Let her not stir where the walls and the roof of the black small trap will smite her!

IV

The room moves up the dimension of time. Hour and hour and hour. Bearing its freight toward sleep. Thick hot room, torn by the burr of two lights, choked by the strain of two bound souls, moving along the night. Writhing in dream. Singing.--

--My flesh sings for silk and rich jewels; My flesh cries for the mouth of a king. My hair, why is it not a canopy of love, Why does it not cover sweet secrets of love? My hair cries to be laid upon white linen. I have brought misery into the world.-- I have lived with a small man and my dreams have shrunk him, Who in my dreams enlarged the glory of princes. He looks upon me with soft eyes, and my flesh is hard against them. He beats upon me with warm heart, and my breasts do not rise up for him. They are soft and forgetful of his beating heart. My breasts dream far when he is near to them-- They droop, they die. His hands are a tearful prayer upon my body-- I sit: there is no way between my man and my dream, There is no way between my life and life, There is no way between my love and my child. I lie: and my eyes are shut. I sleep: and they open. A world of mountains Plunges against my sleep.--

--Lord, Lord: this is my daughter before me, her cheeks that have not bloomed are wilting. Preserve her, Lord. This is my wife before me, her love that has not lived is dead.--Time is a barren field that has no end. I see no horizon. My feet walk endlessly, I see no horizon.--I am faithful, Lord.--

* * * * *

The tailor-shop is black. It has moved up three hours into midnight. It is black.

Esther and Meyer walk the grey street. In the arms of the man sleeps Flora. His arm aches. He dares not change her to his other arm. Lest she wake.

He has undressed her. Gentle hands of a man. He holds her little body, naked, near his eyes. Her face and her hands, her feet and her knees are soiled. The rest of her body is white--very white--no bloom upon her body. He kisses her black hair.

He lays her away beneath her coverlet.

There is his wife before him. She is straight. Her naked body rises, column of white flame, from her dun skirt. Esther--his love--she is in a case of fire. Within her breasts as within hard jewels move the liquids of love. Within her body, as within a case, lies her soul, pent, which should pour forth its warmth upon them.

He embraces her.

"Esther.--Esther--" He can say no more.

His lips are at her throat. Can he not break her open?

She sways back, yielding. Her eyes swerve up. They catch the cradle of her child.

--Another child--another agony of glory--another misery to the world?

She is stiff in the unbroken case of a vast wound all about her.

So they lie down in bed. So they sleep.

* * * * *

She has cooked their breakfast.

They walk, a man and a woman, down the steep street to work. A child between them, holding the hand of a man.

They are grey, they are sullen. They are caught up in the sullen strife of their relentless life. There is no let to them. Time is a barren field with no horizon.

FRENCH EVA[9]

By KATHARINE FULLERTON GEROULD

(From _Scribner's Magazine_)

The real _dramatis personæ_ are three (for Schneider was only a sign-post pointing): Follet, the remittance-man, Stires, and French Eva. Perhaps I should include Ching Po--but I hate to. I was the man with his hands in his pockets who saw the thing steadily and saw it whole--to filch a windy phrase. I liked Stires, who had no social standing, even on Naapu, and disliked Follet, who had all the standing there was. Follet dined with magnates; and, believe me, the magnates of Naapu were a multicolored lot. A man might have been made by copra or by pearls--or by blackbirding. We were a plutocracy; which means that so long as a man had the house and the drinks, you asked no questions. The same rule holds--allowing for their dizzier sense of figures--in New York and Chicago. On the whole, I think we were more sensible. There is certainly more difference between good food and bad than between five millions and fifty (which, I take it, is a figure that buys immunity over here). I don't think any man's hospitality would have ranked him permanently on Naapu if his dinners had been uneatable. Though perhaps--to be frank--drinks counted more than food as a measuring-rod of aristocracy.

Well, Follet trained with the people who received consignments of champagne and good whiskey. And Stires did not. Anyhow, Stires was a temperance man: he took only one or two drinks a day, and seldom went beyond a modest gin-fizz. With the remarkable native punch, compounded secretly and by unknown ways, but purchasable, and much esteemed by the knowing, he never would have anything to do. Stires looked like a cowboy and was, in truth, a melancholy New Englander with a corner-grocery outlook on life, and a nasal utterance that made you think of a barrel of apples and a corn-cob pipe. He was a ship-chandler in a small--a very small--way. Follet lived at the ramshackle hotel, owned by the ancient Dubois and managed, from roof to kitchen-midden, by Ching Po. French Eva dwelt alone in a thatched cottage built upon poles, and sold eggs and chickens and fish. The poultry she raised herself; for the fish, she was a middleman between fishermen and householders. As she owned a gramophone and one silk dress, it was clear that her business prospered. Even Ching Po bought eggs of her, though there was a nameless, uninterpreted hostility between them.

Let me give you, at once, the few facts I could gather about French Eva. There were rumors a-plenty, but most of them sifted down to a little residual malice. I confined my questionings to the respectable inhabitants of Naapu; they were a very small circle. At last, I got some sort of "line" on French Eva.

None within our ken fathered or mothered her. Old Dubois knew most about her, but old Dubois, a semi-paralyzed colossus, "doped" most of the time, kept his thick lips closed. "An excellent girl" was all that any one could wring from him. As she had begun life on Naapu by being _dame de comptoir_ for him, he had some right to his judgment. She had eventually preferred independence, and had forsaken him; and if he still had no quarrel with her, that speaks loudly for her many virtues. Whether Dubois had sent for her originally, no one knew. His memory was clouded by opium, and you could get little out of him. Besides, by the time I arrived on Naapu, French Eva belonged to the landscape and to history. She was generally supposed to be pure French, and her accent supported the theory, though she was in a small way a linguist. Her English was as good as any one's--on Naapu, where we were by no means academic. She could speak the native tongue after a fashion, and her bêche-de-mer was at least fluent.

I had heard of the lady before I ever saw her, and had wondered why Naapu chose to distinguish a female fish-vender--even if she had begun with old Dubois. As soon as I clapped eyes on her, I perceived her distinction, her "difference"--the reason for the frequent "Mam'selle." She was, at first glimpse, unusual. To begin with, never was so white a face matched with hair and brows and eyes so black. In the ordinary pursuit of her business she wore her hair half loose, half braided, down her back; and it fell to her knees like a heavy crape veil. A bad simile, you will say; but there are no words to express the unrelieved blackness of her hair. There were no lights in it; no "reflets," to use the French phrase. It might have been "treated" with ink. When, on rare occasions--not often, for the weight of it, as she freely explained, made her head ache--she put it up in coils, it was like a great mourning bonnet under which her white face seemed to shrink away. Her eyes were nearly as black as her hair. Her figure was very lovely, whether in forming the loose native garment or laced into her silk dress.

You will say that I have painted for you a person who could not, by any possibility, be beautiful; and yet French Eva was beautiful. You got used to that dull curtain of her hair; it made Madame Maür's lustrous raven locks look oily. It came to seem, after a time, all that hair should be. Her features were nearly perfect from our finicking European point of view, and she grew in grace even while I, a newcomer, watched; for the effect of the tropic sun upon her skin was curious and lovely: it neither blotched nor reddened nor tanned her, but rather gilded her pallor, touching it with the faintest brown in the world. I must, in the interests of truth, mention one more fact. Mam'selle Eva was the sort of woman who has a direct effect on the opposite sex. Charm hardly expresses it; magnetism, rather, though that is a poor word. A man simply wanted to be near her. She intrigued you, she drew you on, she assailed your consciousness in indefinable ways--all without the sweep of an eyelash or the pout of a lip. French Eva was a good girl, and went her devious ways with reticent feet. But she was not in "society," for she lived alone in a thatched hut, and attended native festivals, and swore--when necessary--at the crews of trading barques. I am not sure that she did not, of all tongues possible to her, prefer bêche-de-mer; which is not, at its most innocent, an elegant language. She had no enemies except Ching Po--for reasons unknown; and she paid her occasional respects to any and all religions that Naapu boasted. When there was a row, she was always, of course, on the European side; though she would stretch a point now and then in favor of the native constabulary.

So much for French Eva--who was by no means so important in the Naapu scheme of things as my long description may imply. She had her eminently respectable, her perfectly recognized niche, and we all bought eggs and fish of her when we could. She was a curious figure, to be sure; but you must remember that on Naapu every one, nearly, was unaverage, if not abnormal. Even the agents and officials were apt to be the least promising of their kind--or they would have been somewhere else. It was a beautiful refuge for utter bounders and men who, though not bounders, had a very low limit of achievement. The jetsam of officialdom was washed up on that lonely, lovely shore. The magnates of Naapu were not to be trusted. Naapu was a rich island, the richest of its group; and, being off the main lines of traffic, was an excellent field for the unscrupulous. Tourists did not bother us, for tourists do not like eighty-ton schooners; maps did not particularly insist upon us; we were well known in places where it was profitable to know us, and not much talked about anywhere. Our copra was of the best; there were pearls to be had in certain waters if you could bribe or fight your way to them; and large groups of natives occasionally disappeared over night from one of the surrounding islands. Naapu was, you might say, the clasp of a necklace. How could we be expected to know what went on in the rest of the string--with one leaky patrol-boat to ride those seas? Sometimes there were fights down by the docks; strangers got arrested and were mysteriously pardoned out; there were always a good many people in the landscape who had had too much square-face. We were very far away from everything, and in spite of all these drawbacks we were happy, because the climate was, most of the year, unexceptionable. When you recall what most civilized climates are like, "unexceptionable," that cold and formal word, may well take your breath away. Lest any one should suspect me of blackbirding or gin-selling, I will say at once that I had come to Naapu by accident and that I stayed because, for reasons that I will not go into here, I liked it. I lived in a tiny bungalow with an ex-ship's cook whom I called Joe, and several thousand cockroaches. I had hired Joe to cook for me, but his chief duty soon became to keep the cockroaches out of my bedroom. As a matter of fact, I usually dined at Dubois's hotel or at some private house.

Why so idle a person as I should have looked down--as I did, from the first--on Follet, I cannot explain. The money I lived on was certainly not of my own making. But, strictly speaking, I could have gone home if I had chosen, and I more than suspected that Follet could not have. Follet was not enamoured of Naapu, and talked grandiloquently of Melbourne and Batavia and Hong-Kong. He continued, however, to be a resident of the island, and none of his projects of removal to a better place ever went beyond mere frothy talk. He lived at Dubois's, but spent much of his time with the aforesaid magnates. He had an incorruptible manner; some grace that had been bred in him early never forsook him, and the ladies of Naapu liked him. Even good Madame Maür, who squinted, squinted more painfully at Follet than at any one else. But his idleness was beginning to tell on him; occasionally he had moody fits, and there were times when he broke out and ran amuck among beach-combers and tipsy natives along the water-front. More than once, Ching Po sought him out and fetched him home.