My Name Is Lucy Barton (5 page)

T
he next morning, Toothache brought with her the news that the tests had come out all right, that in spite of what had shown up in my blood the CAT scan was okay, the doctor would explain it all later. Toothache had also brought with her a gossip magazine, and she asked my mother if she'd like to read it. My mother shook her head quickly, as though she'd been asked to handle a person's private body parts. “I'd like it,” I told Toothache, holding out my hand, and she gave it to me and I thanked her. The magazine lay that morning on my bed. Then I put it into the drawer in my table that had the telephone on it, and I did that—hid it—in case the doctor came in. So I was like my mother, we did not want to be judged by what we read, and while she wouldn't even read such a thing, I only didn't want to be seen with it. This strikes me as odd, so many years later. I was in the hospital, essentially so was she; what better time to read anything that takes the mind away? I had a few books from home near my bed, though I had not read them with my mother there, nor had she looked at them. But about the magazine, I'm sure it would not have made any dent in my doctor's heart. But that is how sensitive we both were, my mother and I. There is that constant judgment in this world: How are we going to make sure we do not feel inferior to another?

It was merely a magazine about movie stars, one my own girls and I, when they were older, would look at for fun if we needed time to go by, and this particular magazine often featured a story about an ordinary person who had suffered something extraordinarily awful. When I took the magazine from the drawer that afternoon, I saw an article about a woman who had gone into a barn in Wisconsin to find her husband one evening and had her arm chopped off—literally chopped with an ax—by a man who had gotten out of the state mental asylum. This happened while her husband, tied to a post by the horse pens, watched. He screamed, which made the horses scream, and I guess the woman must have screamed like crazy—it did not say she passed out—and the sound of such noises caused the escaped-from-the-asylum-man to run off. The woman, who easily could have bled to death as her arteries were spurting blood, managed to call for help, and a neighbor came right over and tied her arm with a tourniquet, and now the husband and wife and neighbor made a point of starting each day by praying together. There was a photo of them in the early morning sun by the barn door in Wisconsin, and they were praying. The woman prayed with her one remaining arm and hand; they were hoping to get her a prosthetic soon, but there was the issue of money. I told my mother I thought it was bad taste to photograph people praying, and she said the entire thing was bad taste.

“He's a lucky husband, though,” she said in a few moments. “I see on the news those shows where a man might have to watch his wife be raped.”

I put the magazine down. I looked at my mother at the foot of my bed, this woman I had not seen for years. “Seriously?” I asked.

“Seriously what?”

“A man watched his wife be raped? What were you watching, Mom?” I didn't add what I most wanted to: And when did you guys get a TV?

“I saw it on television, I just told you that.”

“But on the news, or one of those cop show things?”

I saw—I felt I saw—her considering this, and she said, “The news, one night at Vicky's house. Somewhere in one of those awful countries.” Her eyes flipped shut.

I picked the magazine back up and rustled through it. I said, “Hey, look—this woman has a pretty gown. Mom, look at this pretty gown.” But she did not respond or open her eyes.

This is how the doctor found us that day. “Girls,” he said, then stopped when he saw my mother with her eyes closed. He stayed just within the door, he and I both watching for a moment to see if my mother was truly asleep or if she would open her eyes. That moment, both of us watching to see, made me recall how in my youth there were times that I wanted desperately to run to a stranger when we went into town and say, “You need to help me, please, please, can you please get me out of there, bad things are going on—” And yet I never did, of course; instinctively I knew that no stranger would help, no stranger would dare to, and that in the end such a betrayal would make things far worse. And so now I turned from watching my mother to watching my doctor, for in essence this was the stranger I had hoped for, and he turned and must have seen something on my face, and I—so briefly—felt I saw something on his, and he held up a hand to indicate he'd come back, and when he stepped out, I felt myself dropping into something familiar and dark from long ago. My mother's eyes remained shut for many more minutes. To this day I have no idea if she was sleeping or just staying away from me. I wanted terribly to talk to my little children then, but if my mother was asleep I couldn't wake her by speaking into the phone next to the bed, and also the girls would have been in school.

All day I had wanted to speak to my girls, I could barely stand it, so I pushed my apparatus out into the hallway and asked the nurses if I could make a call from their desk, and they pushed a phone toward me, and I called my husband. I was desperate not to have any tears drip from my eyes. He was at work, and he felt bad for me, hearing how much I missed him and the kids. “I'll call the sitter and have her call you just as soon as they're home. Chrissie has a play date today.”

So life goes on, I thought.

(And now I think: It goes on, until it doesn't.)

I had to sit in a chair at the nurses' station while I tried not to cry. Toothache put her arm around me, and even now I love her for that. I have sometimes been sad that Tennessee Williams wrote that line for Blanche DuBois, “I have always depended on the kindness of strangers.” Many of us have been saved many times by the kindness of strangers, but after a while it sounds trite, like a bumper sticker. And that's what makes me sad, that a beautiful and true line comes to be used so often that it takes on the superficial sound of a bumper sticker.

I was wiping my face with my bare arm when my mother came to find me, and we all—Toothache, myself, the other nurses—waved to her. “I thought you were napping,” I said as she and I went back to my room. She said that she had been napping. “The sitter may call soon,” I said, and I told her how Chrissie had a play date.

“What's a play date?” my mother asked.

I was glad we were alone. “It just means she's going to someone's house after school.”

“Who's the play date with?” my mother asked, and I felt that her asking was her way of being nice after what she must have seen in my face, my sadness.

As we walked down the hallway of the hospital, I told her about Chrissie's friend, how the mother taught fifth grade and the father was a musician but also a jerk, kind of, and they were not happy in their marriage but the girls seemed to like each other a great deal, and my mother nodded throughout all this. When we got back to my room, the doctor was there. His face was businesslike as he swished the curtain and pressed on my scar. He said, brusquely, “About the scare last night: An inflammation was showing up in the blood and we needed the CAT scan. Get your fever down, keep some solid food down, and we can send you home.” His voice was different enough that he might have slapped me with each word. I said, “Yes, sir,” and did not look at him. I have learned this: A person gets tired. The mind or the soul or whatever word we have for whatever is not just the body gets tired, and this, I have decided, is—usually, mostly—nature helping us. I was getting tired. I think—but I don't know—that he was getting tired too.

The sitter called. She was just a young girl, and she kept assuring me that the kids were doing fine. She held the phone to Becka's ear, and I said, “Mommy will be home soon,” again and again and again, and Becka didn't cry, so I was happy. “When?” she asked, and I kept saying soon, and that I loved her. “I love you, and you know that, right?” “What?” she asked. “I love you and I miss you and I'm here away from you so I can get well, and I'm going to get well, and then I'll see you very soon, okay, angel?”

“Okay, Mommy,” she said.

I
n the Metropolitan Museum of Art, which sits so large and many-stepped on Fifth Avenue in New York, there is a section on the first floor referred to as the sculpture garden, and I must have walked past this particular sculpture many times with my husband, and with the children as they got older, me thinking only of getting food for the kids, and never really knowing what a person did in a museum of this nature where there were so many things to look at. In the middle of these needs and worries is a statue. And only recently—in the last few years—when the light was hitting it with a splendid wash, did I stop and look at it and say: Oh.

It is a marble statue of a man with his children near him, and the man has such desperation on his face and the children at his feet appear to be clinging, begging him, while he gazes out toward the world with a tortured look, his hands pulling at his mouth, but his children look only at him, and when I finally saw this, I said inside myself, Oh.

I read the placard, which let me know that these children are offering themselves as food for their father, he is being starved to death in prison, and these children only want one thing—to have their father's distress disappear. They will allow him—oh, happily, happily—to eat them.

And I thought, So that guy knew. Meaning the sculptor. He knew.

And so did the poet who wrote what the sculpture has shown. He knew too.

A few times I made a trip to the museum specifically to see my starving father-man with his children, one grabbing at his leg, and when I got there I didn't know what to do. He was as I had remembered him, and so I stood at a loss. Later I realized I got what I needed when there was a furtiveness to my seeing him, such as if I was in a hurry to meet someone elsewhere, or if I was with someone in the museum and I'd say I needed to use the bathroom, just to get away and see this on my own. But not on my own the same way as when I made the trip entirely alone to see this frightened starving father-man. And he is always there, except for once when he was not. The guard said he was upstairs in a special exhibit and I felt insulted by the whole thing, that others wanted to see him that much!

Pity us.

I thought those words later, as I thought of my response when the guard told me the statue was upstairs. I thought, Pity us. We don't mean to be so small. Pity us—it goes through my head a lot—Pity us all.

“W
ho
are
these people?” my mother asked.

I was lying on my back facing the window; it was evening, and the lights of the city were starting to come on. I asked my mother what she meant. She answered, “These foolish people in this foolish magazine, I don't know one name of any of them. They all seem to like to have their picture taken getting coffee or shopping, or—” I stopped listening. It was the sound of my mother's voice I most wanted; what she said didn't matter. And so I listened to the sound of her voice; until these past three days it had been a long time since I had heard it, and it was different. Perhaps my memory was different, for the sound of her voice used to grate my nerves. This sound was the opposite of that—always the sense of compression, the urgency.

“Look at this,” my mother said. “Wizzle, look at this. My goodness,” she said.

And so I sat up.

She handed me the gossip magazine. “Did you see this?”

I took it from her. “No,” I said. “I mean, I saw it, but I didn't care.”

“No, but my goodness,
I
care. Her father was a friend of your father's from a long, long time ago. Elgin Appleby. It says it right here, look at this. ‘Her parents, Nora and Elgin Appleby.' Oh, he was a funny man. He could make the Devil laugh.”

“Well, the Devil laughs easily,” I said, and my mother looked at me. “How did Daddy know him?” It was the only time during her stay with me in the hospital that I remember being angry with her, and this was because she casually spoke of my father that way, after not speaking of him at all, except to mention his truck.

She said, “When they were young. Who knows, but Elgin moved to Maine and worked on a farm there, I don't know why he moved. But look at her, this child, Annie Appleby. Look at her, Wizzle.” My mother pointed at the magazine she had handed me. “I think she looks— I don't know.” My mother sat back. “What does she look like?”

“Nice?” I didn't think she looked nice; she looked something, but I would not have said “nice.”

“No, not nice,” said my mother. “Something. She looks something.”

I stared at the picture again. She was next to her new boyfriend, an actor from a television series my husband watched some nights. “She looks like she's seen stuff,” I finally said.

“That's it,” my mother nodded. “You're right, Wizzle. That's what I thought too.”

The article was a long one, and it was more about Annie Appleby than the fellow she was with. It said that she'd grown up on a potato farm in the St. John Valley in Aroostook County in Maine, that she had not finished high school, that she had left to join a theater company, and that she missed her home. “Of course I do,” Annie Appleby was quoted as saying, “I miss the beauty every day.” When asked if she wanted to go into movies instead of staying on the stage, she answered, “Not a bit. I love the audience being right there, although I don't think about them when I'm onstage, I just know what they need, which is for me to be good at my job of acting for them.”

I put the magazine down. “She's pretty,” I said.

“I didn't think she was pretty,” my mother said. It seemed a while before she added, “I think she's more than pretty. She's beautiful. I wonder what it's like for her to be famous.” My mother seemed to be pondering this.

Maybe it was because for the first time since she had been here she had mentioned my father, and not just his truck, or maybe it was because she had called someone else's daughter beautiful, but I said with some sarcasm, “I didn't know you ever cared what it felt like for anyone to be famous.” Right away I experienced a terrible feeling: This was my mother, who had found her way to the basement just the night before, all the way to the basement of this big awful hospital in the nighttime, she had gone to make sure her daughter was okay, and so I said, “But I've wondered sometimes, because once I saw”—and I named a famous actress—“in Central Park, and she was walking along, and I thought, What is that like?” I said all this as a way of being nice to my mother again.

My mother nodded just slightly, looking toward the window. “Dunno,” she said. A few minutes later, her eyes were closed.

Not until long after did I think that she might not have known the famous actress I mentioned. My brother said, many years later, that she had never been to a movie that he knew of. My brother has never been to a movie either. About Vicky, I don't know.