We Others (52 page)

The mouse is sitting in his chair with his feet on the hassock and his open book facedown on his lap. A mood of melancholy has invaded him, as if the brown tones of his room had seeped into his brain. He feels stale and out of sorts: he moves within the narrow compass of his mind, utterly devoid of fresh ideas. Is he perhaps too much alone? He thinks of the cat and wonders whether there is some dim and distant possibility of a connection, perhaps a companionship. Is it possible that they might become friends? Perhaps he could teach the cat to appreciate the things of the mind, and learn from the cat to enjoy life’s simpler pleasures. Perhaps the cat, too, feels an occasional sting of loneliness. Haven’t they much in common, after all? Both are bachelors, indoor sorts, who enjoy the comforts of a cozy domesticity; both are secretive; both take pleasure in plots and schemes. The more the mouse pursues this line of thought, the more it seems to him that the cat is a large, soft mouse. He imagines the cat with mouse ears and gentle mouse paws, wearing a white bib, sitting across from him at the kitchen table, lifting to his mouth a fork at the end of which is a piece of cheese.

The cat enters from the right with a chalkboard eraser in one hand. He goes over to the mousehole, bends down, and erases it. He stands up and erases the wall, revealing the mouse’s home. The mouse is sitting in his chair with his feet on the hassock and his open book facedown on his lap. The cat bends over and erases the book. The mouse looks up in irritation. The cat erases the mouse’s chair. He erases the hassock. He erases the entire room. He tosses the eraser over his shoulder. Now there is nothing left in the world except the cat and the mouse. The cat snatches him up in a fist. The cat’s red tongue slides over glistening teeth sharp as ice picks. Here and there, over a tooth, a bright star expands and contracts. The cat opens his jaws wider, closes his eyes, and hesitates. The death of the mouse is desirable in every way, but will life without him really be pleasurable? Will the mouse’s absence satisfy him entirely? Is it conceivable that he may miss the mouse, from time to time? Is it possible that he needs the mouse, in some disturbing way?

As the cat hesitates, the mouse reaches into a pocket of his robe and removes a red handkerchief. With swift circular strokes he wipes out the cat’s teeth while the cat’s eyes watch in surprise. He wipes out the cat’s eyes. He wipes out the cat’s whiskers. He wipes out the cat’s head. Still held in the cat’s fist, he wipes out the entire cat, except for the paw holding him. Then, very carefully, he wipes out the paw. He drops lightly down and slaps his palms together. He looks about. He is alone with his red handkerchief in a blank white world. After a pause, he begins to wipe himself out, moving rapidly from head to toe. Now there is nothing left but the red handkerchief. The handkerchief flutters, grows larger, and suddenly splits in half. The halves become red theater curtains, which begin to close. Across the closing curtains, words write themselves in black script:
THE END
.

The Disappearance of Elaine Coleman

The news of the disappearance disturbed and excited us. For weeks afterward, the blurred and grainy photograph of a young woman no one seemed to know, though some of us vaguely remembered her, appeared on yellow posters displayed on the glass doors of the post office, on telephone poles, on windows of the CVS and the renovated supermarket. The small photo showed a serious face turned partly away, above a fur collar; the picture seemed to be an enlargement of a casual snapshot, perhaps originally showing a full-length view—the sort of picture, we imagined, taken carelessly by a bored relative to commemorate an occasion. For a time women were warned not to go out alone at night, while the investigation pursued its futile course. Gradually the posters became rain-wrinkled and streaked with grime, the blurred photos seemed to be fading away, and then one day they were gone, leaving behind a faint uneasiness that itself dissolved slowly in the smoke-scented autumn air.

According to the newspaper reports, the last person to see Elaine Coleman alive was a neighbor, Mrs. Mary Blessington, who greeted her on the final evening as Elaine stepped out of her car and began to walk along the path of red slates leading to the side entrance of the house on Willow Street where she rented two rooms on the second floor. Mary Blessington was raking leaves. She leaned on her rake, waved to Elaine Coleman, and remarked on the weather. She noticed nothing unusual about the quiet young woman walking at dusk toward the side door, carrying in one arm a small paper bag (probably containing the quart of milk found unopened in her refrigerator) and holding her keys in the other hand. When questioned further about Elaine Coleman’s appearance as she walked toward the house, Mary Blessington admitted that it was almost dark and that she couldn’t make her out “all that well.” The landlady, Mrs. Waters, who lived on the first floor and rented upstairs rooms to two boarders, described Elaine Coleman as a quiet person, steady, very polite. She went to bed early, never had visitors, and paid her rent unfailingly on the first of the month. She liked to stay by herself, the landlady added. On the last evening Mrs. Waters heard Elaine’s footsteps climbing the stairs as usual to her apartment on the second floor in back. The landlady did not actually see her, on that occasion. The next morning she noticed the car still parked in front, even though it was a Wednesday and Miss Coleman never missed a day of work. In the afternoon, when the mail came, Mrs. Waters decided to carry a letter upstairs to her boarder, who she assumed was sick. The door was locked. She knocked gently, then louder and louder, before opening the door with a duplicate key. She hesitated a long time before calling the police.

For days we spoke of nothing else. We read the newspapers ardently, the local
Messenger
and the papers from neighboring towns; we studied the posters, we memorized the facts, we interpreted the evidence, we imagined the worst.

The photograph, bad and blurry though it was, left its own sharp impression: a woman caught in the act of looking away, a woman evading scrutiny. Her blurred eyes were half closed, the turned-up collar of her jacket concealed the line of her jaw, and a crinkled strand of hair came straggling down over her cheek. She looked, though it was difficult to tell, as if she had hunched her shoulders against the cold. But what struck some of us about the photograph was what it seemed to conceal. It was as if beneath that grainy cheek, that blurred and narrow nose with the skin pulled tight across the bridge, lay some other, younger, more familiar image. Some of us recalled dimly an Elaine, an Elaine Coleman, in our high school, a young Elaine of fourteen or fifteen years ago who had been in our classes, though none of us could remember her clearly or say where she sat or what she did. I myself seemed to recall an Elaine Coleman in English class, sophomore or junior year, a quiet girl, someone I hadn’t paid much attention to. In my old yearbook I found her, Elaine Coleman. I did not recognize her face. At the same time it didn’t seem the face of a stranger. It appeared to be the missing woman on the poster, though in another key, so that you didn’t make the connection immediately. The photograph was slightly overexposed, making her seem a little washed out, a little flat—there was a bright indistinctness about her. She was neither pretty nor unpretty. Her face was half turned away, her expression serious; her hair, done up in the style of the time, showed the shine of a careful combing. She had joined no clubs, played no sports, belonged to nothing.

The only other photograph of her was a group picture of our homeroom class. She stood in the third row from the front, her body turned awkwardly to one side, her eyes lowered, her features difficult to distinguish.

In the early days of her disappearance I kept trying to remember her, the dim girl in my English class who had grown up into a blurred and grainy stranger. I seemed to see her sitting at her maplewood desk beside the radiator, looking down at a book, her arms thin and pale, her brown hair falling partly behind her shoulder and partly before, a quiet girl in a long skirt and white socks, but I could never be certain I wasn’t making her up. One night I dreamed her: a girl with black hair who looked at me gravely. I woke up oddly stirred and relieved, but as I opened my eyes I realized that the girl in my dream was Miriam Blumenthal, a witty and laughing girl with blazing black hair, who in dream-disguise had presented herself to me as the missing Elaine.

One detail that troubled us was that Elaine Coleman’s keys were discovered on the kitchen table, beside an open newspaper and a saucer. The key ring with its six keys and its silver kitten, the brown leather pocketbook containing her wallet, the fleece-lined coat on the back of a chair, all this suggested a sudden and disturbing departure, but it was the keys that attracted our particular attention, for they included the key to her apartment. We learned that the door could be locked in two ways: from the inside, by turning a knob that slid a bolt, and from the outside, with a key. If the door was locked and the key inside, then Elaine Coleman cannot have left by the door—unless there was another key. It was possible, though no one believed it, that someone with a second key had entered and left through her door, or that Elaine herself, using a second key, had left by the door and locked it from the outside. But a thorough police investigation discovered no record of a duplicate. It seemed far more likely that she had left by one of the four windows. Two were in the kitchen–living room facing the back, and two in the bedroom facing the back and side. In the bathroom there was a small fifth window, no more than twelve inches in height and width, through which it would have been impossible to enter or exit. Directly below the four main windows grew a row of hydrangea and rhododendron bushes. All four windows were closed, though not locked, and the outer storm windows were in place. It seemed necessary to imagine that Elaine Coleman had deliberately escaped through a second-floor window, fifteen feet up in the air, when she might far more easily have left by the door, or that an intruder had entered through a window and carried her off, taking care to pull both panes back into place. But the bushes, grass, and leaves below the four windows showed no trace of disturbance, nor was there any evidence in the rooms to suggest a break-in.

The second boarder, Mrs. Helen Ziolkowski, a seventy-year-old widow who had lived in the front apartment for twenty years, described Elaine Coleman as a nice young woman, quiet, very pale, the sort who kept to herself. It was the first we had heard of her pallor, which lent her a certain allure. On the last evening Mrs. Ziolkowski heard the door close and the bolt turn in the lock. She heard the refrigerator door open and close, light footsteps moving about, a dish rattling, a teapot whistling. It was a quiet house and you could hear a lot. She had heard no unusual sounds, no screams, no voices, nothing at any time that might have suggested a struggle. In fact it had been absolutely quiet in Elaine Coleman’s apartment from about seven o’clock on; she had been surprised not to hear the usual sounds of dinner being prepared in the kitchen. She herself had gone to bed at eleven o’clock. She was a light sleeper and was up often at night.

I wasn’t the only one who kept trying to remember Elaine Coleman. Others who had gone to high school with me, and who now lived in our town with families of their own, remained puzzled or uncertain about who she was, though no one doubted she had actually been there. One of us thought he recalled her in biology, sophomore year, bent over a frog fastened to the black wax of a dissecting pan. Another recalled her in English class, senior year, not by the radiator but at the back of the room—a girl who didn’t say much, a girl with uninteresting hair. But though he remembered her clearly, or said he did, there at the back of the room, he could not remember anything more about her, he couldn’t summon up any details.

One night, about three weeks after the disappearance, I woke from a troubling dream that had nothing to do with Elaine Coleman—I was in a room without windows, there was a greenish light, some frightening force was gathering behind the closed door—and sat up in bed. The dream itself no longer upset me, but it seemed to me that I was on the verge of recalling something. In startling detail I remembered a party I had gone to, when I was fifteen or sixteen. I saw the basement playroom very clearly: the piano with sheet music open on the rack, the shine of the piano lamp on the white pages and on the stockings of a girl sitting in a nearby armchair, the striped couch, some guys in the corner playing a child’s game with blocks, the cigarette smoke, the bowl of pretzel sticks—and there on a hassock near the window, leaning forward a little, wearing a white blouse and a long dark skirt, her hands in her lap, Elaine Coleman. Her face was sketchy—dark hair some shade of brown, grainy skin—and not entirely to be trusted, since it showed signs of having been infected by the photograph of the missing Elaine, but I had no doubt that I had remembered her.

I tried to bring her into sharper focus, but it was as if I hadn’t looked at her directly. The more I tried to recapture that evening, the more sharply I was able to see details of the basement playroom (my hands on the chipped white piano keys, the green and red and yellow blocks forming a higher and higher tower, someone on the swim team moving his arms out from his chest as he demonstrated the butterfly, the dazzling knees of Lorraine Palermo in sheer stockings), but I could not summon Elaine Coleman’s face.

According to the landlady, the bedroom showed no signs of disturbance. The pillow had been removed from under the bedclothes and placed against the headboard. On the nightstand a cup half filled with tea rested on a postcard announcing the opening of a new hardware store. The bedspread was slightly rumpled; on it lay a white flannel nightgown printed with tiny pale-blue flowers, and a fat paperback resting open against the spread. The lamp on the nightstand was still on.

We tried to imagine the landlady in the bedroom doorway, her first steps into the quiet room, the afternoon sunlight streaming in past the closed venetian blinds, the pale, hot bulb in the sun-streaked lamp.