The Witches of Eastwick (34 page)

"There is a brand of evil," Brenda was saying, "we must fight. It must not be tolerated, it must not be explained, it must not be excused. Sociology, psychology, anthropology: in this one instance all these creations of the modern mind must be denied their mitigations."

I
will never see icicles dripping from the eaves again,
Jenny thought,
or a sugar maple catching fire. Or that moment in late winter when the snow is all dirty and eaten by thaw into rotten, undercut shapes.
These realizations were like a child's finger rubbing a hole in a befogged windowpane above a radiator on a bitterly cold day; through the clear spot Jenny looked into a bottomless never.

Brenda, her hair shimmering down to her shoulders—had it been like that at the beginning of the service, or had it come unpinned in her ardor?—was rallying invisible forces. "For these women—and let us not in our love of our sex and pride in our sex deny that they
are
women—have long exerted a malign influence in this community. They have been promiscuous. They have neglected at best and at worst abused their children, nurturing them in blasphemy. With their foul acts and unspeakable charms they have driven some men to deranged acts. They have driven some men—I Firmly believe this—have driven some men to their deaths. And now their demon has alighted—now their venom has descended—their wrath hath—" As from the bell of a hollyhock a bumblebee sleepily emerged from between Brenda's plump painted lips and dipped on its questing course over the heads of the congregation.

Jenny uttered, to herself. Greta's hand gave another squeeze. On her far side Ray Neff snorted. Both the Neffs wore glasses: oval steel-rimmed grannies for Greta, squarish rimless on Ray. Each Neff seemed a single big lens,
and I sit between them,
Jenny thought,
like a nose.
An aghast silence focused upon Brenda, erect in her pulpit. Above her head hung not the tarnished brass cross that had been suspended there for years in irrelevant symbolism but a solid new brass circle, symbol of perfect unity and peace. The circle had been Brenda's idea. She took a shallow breath and tried to speak out through the something else gathering in her mouth.

"Their wrath has tainted the very air we breathe," she proclaimed, and a pale blue moth, and then its little tan sister, emerged; the second fell to the lectern, which was miked, with an amplified thud, then found its wings and beat its way toward the sky locked high behind the tall windows.

"Their jealous
y hath poithoned uth all—" Brenda bent her head, and her mouth gave birth to an especially vivid, furry, foul-tasting monarch butterfly, its orange wings rimmed th
ickly in black, its flickering
light casual and indolent beneath the white-painted rafters.

Jenny felt a tense swelling within her poor wasting body, as if it were a chrysalis.

"Help me," Brenda brokenly uttered down toward the lectern, where the crisp pages of her sermon had been speckled with saliva and insect slime. She seemed to be gagging. Her long platinum-blond hair swung and the brass O shone in the shafts of sunlight. The congregation broke its stunned silence; voices were raised. Franny Lovecraft, in the loud tones of the deaf, suggested that the police be called. Raymond Neff took it upon himself to leap up and shake his fist in the sun-riddled air; his jowls shook. Jenny giggled; the hilarity pressing within her could no longer be stifled. It was, somehow, the animation of it all that was so funny, the irrepressible cartoon cat that rises from being flattened to resume the chase. She burst into laughter—high-voiced, pure, a butterfly of sorts—and yanked her hand from Greta's sympathetic, squeezing grasp. She wondered who was doing it: Sukie, everybody knew, would be in bed with that sly Arthur Hallybread while his wife was at church; sly old elegant Arthur had been fucking his physics students for thirty years in Kingston. Jane Smart had gone all the way up to Warwick to play the Hammond organ for a cell of Moonies starting up in an abandoned Quaker meetinghouse; the ambience (Jane had told Mavis Jessup, who had told Rose Hallybread, who had told Jenny) was depressing, all these brainwashed upper-middle-class kids with Marine haircuts, but the money was good. Alexandra would be making her bubbies or weeding her mums. Perhaps none of the three was willing this, it was something they had loosed on the air, like those nuclear scientists cooking up the atomic bomb to beat Hitler and Tojo and now so remorseful, like Eisenhower refusing to sign the truce with Ho Chi Minh that would have ended all the trouble, like the late-summer wildflowers, goldenrod and Queen Anne's lace, now loosed from dormant seeds upon the shaggy fallow fields where once black slaves had opened the gates for galloping squires in swallowtail coats and top hats of beaver and felt. At any rate it was all so
funny.
Herbie Prinz, his jowly greedy thin-skinned face liverish in agitation, pushed past Alma Sifton and beat his way down the aisle and nearly knocked over Mrs. Hallybread, who like the other women was instinctively covering her mouth as, stiff-backed, she rose to flee.

"Pray!" Brenda shouted, seeing she had lost control of the occasion. Something was pouring over her lower lip, making her chin shine. "Pray!" she shouted in a hollow man's voice, as if she were a ventriloquist's dummy.

Jenny, hysterical with laughter, had to be led outside, where the apparition of her staggering between the bespectacled Neffs nonplussed the God-fearing burghers washing their automobiles at this hour along Cocumscussoc Way.

Jane Smart retired when her children did, often going straight to bed after tucking the two littlest in and falling asleep while the older ones watched an illicit half-hour of
Mannix
or some other car-chase series set in southern California. Around two or two-thirty she would awaken as abruptly as if the telephone had rung once and then fallen silent, or as if an intruder had tested the front door or carefully broken a windowpane and was holding his breath. Jane would listen, then smile in the dark, remembering that this was her hour of rendezvous. Arising in a translucent nylon nightie, she would settle her little quilted satin bed jacket around her shoulders and put milk on the stove to heat for cocoa. Randolph, her avid young Doberman, would come rattling his claws into the kitchen and she would give him a Chew-Z, a rock-hard bone-shaped biscuit to gnaw on; he would take the bribe into his corner and make evil music upon it with his long teeth and serrated purplish lips. The milk would boil, she would take the cocoa up the six steps to the living-room level and release her cello from its case—its red wood lustrous and alive like a superior kind of flesh. "Good baby," Jane might say aloud, since the silence in the flat tracts of the development all around—no traffic, no children crying; Cove Homes rose and retired in virtual synchrony— was so absolute as to be frightening. She would scan her splintered floor for a hole to brace her pin in and, dragging music stand and three-way floorlamp and straight
-
backed chair into place, would play. Tonight she would tackle the Second of Bach's suites for unaccompanied cello. It was one of her favorites; certainly she preferred it to the rather stolid First and the dreadfully difficult Sixth, black with sixty-fourth notes and impossibly high, written as it had been for an instrument with five strings. But always, in even Bach's most clockworklike ringing of changes, there was something to discover, something to
h
ear,
a moment when a voice cried out amid the turning of the wheels. Bach had been happy at Kothen, but for his wife

Maria's sudden death and the so
simpatico
and musical Prince Leopold's marriage to his young cousin, Henrietta of Anhalf, Bach called the little bride an
"amusa,"
that is, a person opposed to the muses. Henrietta yawned during courdy concerts, and her demands deflected princely attention away from the
Kapellmeister,
a deflection that helped prompt his seeking the cantorship in Leipzig. He took the new post even though the unsympathetic princess herself surprisingly died before Bach had left Kothen. In the Second Suite, there was a theme—a melodic succession of rising diirds and a descent in whole tones—announced in the prelude and then given an affecting twist in the allemande, a momentary reversal (up a third) of the descent; thus a poignance was inserted in the onrolling
(moderate-)
melody, which returned and returned, the matter under discussion coming to a head of dissonance in the
forte d
# a
chord between a trilled
b
natural and a finger-stinging run,
piano,
of th
irty-second notes. The matter under discussion, Jane Smart realized as she played on and the untasted cocoa grew a tepid scum, was death—the mourned death of Maria, who had been Bach's cousin, and the longed-for death of Princess Henrietta, which would indeed come. Death was the space these churning, tumbling notes were clearing, a superb polished inner space growing wider and wider. The last bar was marked
poco a poco rilardando
and involved intervals—the biggest a
D-d'
—which sent her fingers sliding with a muffled screech
up and down the neck. The alle
mande ended on that same low tonic, enormously: the note would swallow the world.

Jane cheated; a repeat was called for (she
had
repeated the first half), but now, like a traveller who by the light of a risen moon at last believes that she is headed somewhere, she wanted to hurry on. Her fingers felt inspired. She was leaning out above the music; it was a cauldron bubbling with a meal cooked only for herself; she could make no mistakes. The courante unfolded swiftly, playing itself, twelve sixteenths to the measure, only twice in each section stricken to hesitation by a quarter-note chord, then resuming its tumbling flight, the little theme almost lost now. This theme, Jane felt, was female; but another voice was strengthening within the music, the male voice of death, arguing in slow decided syllables. For all its fluttering the courante slowed to six dotted notes, stressed to accent their descent by thirds, and then a fourth, and then a steep fifth to the same final note, the ineluctable tonic. The sarabande,
largo,
was magnificent, inarguable, its slow skipping marked by many trills, a ghost of that dainty theme reappearing after a huge incomplete dominant ninth had fallen across the music crushingly. Jane bowed it again and again—low
C#-B
b
-g
—relishing its annihilatory force, admiring how the diminished seventh of its two lower notes sardonically echoed the leap of a diminished seventh
(C#
-b
b
)
in the line above. Moving on after this savoring to the first minuet, Jane most distinctly heard—it was not a question of hearing, she
embodied
—the war between chords and the single line that was always trying to escape them but could not. Her bow was carving out shapes within a substance, within a blankness, within a silence. The outside of things was sunshine and scatter; the inside of everything was death. Maria, the princess, Jenny: a procession. The unseen inside of the cello vibrated, the tip of her bow cut circles and arcs from a wedge of air, sounds fell from her bowing like wood shavings. Jenny tried to escape from the casket Jane was carving; the second minuet moved to the key of D major, and the female caught within the music raced in sliding steps of tied notes but then was returned,
Menuetto I da capo,
and swallowed by its darker colors and the fierce quartet of chords explicitly marked for bowing:
f-a aufstrich, B
b
-f-d a
bstrich, G-g-e aufstrich; A-e-c
#
.
Bow sharply, up, down, up, and then down for the three-beat
coup de grace,
that fluttering spirit slashed across for good.

Before attempting the gigue, Jane sipped at her cocoa: the cold circle of skin stuck to her slightly hairy upper lip. Randolph, his Chew-Z consumed, had loped in and lain near, on the scarred floor, her tapping bare toes. But he was not asleep: his carnelian eyes stared directly at her in some kind of startlement; a hungry expression slightly rumpled his muzzle and perked up his ears, as pink within as whelk shells. These familiars, Jane thought, they remain dense— chips of brute matter. He knows he is witnessing something momentous but does not know what it is; he is deaf to music and blind to the scrolls and the glidings of the spirit. She picked up her bow. It felt miraculously light, a wand. The gigue was marked
allegro.
It began with some stabbing phrases—
dh-duh (a-d), dil-duh (b
b
–
c
#
),
dit dodododo dit
duh,
dit...On she spun. Usually she had trouble with these gappy sharped and flatted runs but tonight she flew along them, deeper, higher, deeper,
spiccato, legato.
The two voices struck against each other, the last revival of that fluttering, that receding, returning theme, still to be quelled. So this was what men had been murmuring about, monopolizing, all these centuries, death; no wonder they had kept it to themselves, no wonder they had kept it from women, let the women do their nursing and hatching, keeping a bad thing going while they,
they,
men, distributed among themselves the true treasure, onyx and ebony and unalloyed gold, the sub
stance of glory and release. Unti
l now Jenny's death had been simply an erasure in Jane's mind, a nothing;
now it had its tactile structure, a branched and sumptuous complexity, a sensuous downpulling fathoms more flirtatious than that tug upon our ankles the retreating waves on the beach give amid the tumbling pebbles, that wonderful weary weighty sigh the sea gives with each wave. It was as if Jenny's poor poisoned body had become intertwined, vein and vein and sinew and sinew, with Jane's own, like the body of a drowned woman with seaweed, and both were rising, the one eventually to be shed by the other but for now interlaced, one with the other, in those revolving luminescent depths. The gigue bristled and prickled under her fingers; the eighth-note thirds underlying the running sixteenths grew ominous; there was a hopeless churning, a pulling down, a grisly
fortissimo
flurry, and a last run down and then skippingly up the scale to the cry capping the crescendo, the thin curt cry of that terminal
d.