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Quaint and antique, the cry for love of country that Sir Walter Scott made in his poem “The Lay of the Last Minstrel” is something schoolchildren quit memorizing a century ago. Its stirring theme rouses a patriot’s yearning: “Breathes there the man, with soul so dead, / Who never to himself hath said, / This is my own, my native land!”
It’s easy to forget, given the sensitivities that have been awakened in this country since 9/11, thrusting lifelong citizens under suspicion for having foreign-sounding names and subjecting visitors to the indignity of being fingerprinted, that America was conceived in a spirit of openness, as a land where people could build new identities, grounded in the present and the future, not the past. This dream, despite current fears, has in great part been made real. And the fact that America is still a place where the rest of the world comes to reinvent itself — accepting with excitement and anxiety the necessity of leaving behind the constrictions and comforts of distant customs — is the underlying theme of Jhumpa Lahiri’s sensitive new collection of stories, “Unaccustomed Earth.” Here, as in her first collection, “Interpreter of Maladies,” and her novel, “The Namesake,” Lahiri, who is of Bengali descent but was born in London, raised in Rhode Island and today makes her home in Brooklyn, shows that the place to which you feel the strongest attachment isn’t necessarily the country you’re tied to by blood or birth: it’s the place that allows you to become yourself. This place, she quietly indicates, may not lie on any map.
The eight stories in this splendid volume expand upon Lahiri’s epigraph, a metaphysical passage from “The Custom-House,” by Nathaniel Hawthorne, which suggests that transplanting people into new soil makes them hardier and more flourishing. Human fortunes may be improved, Hawthorne argues, if men and women “strike their roots into unaccustomed earth.” It’s an apt, rich metaphor for the transformations Lahiri oversees in these pages, in which two generations of Bengali immigrants to America — the newcomers and their hyphenated children — struggle to build normal, secure lives. But Lahiri does not so much accept Hawthorne’s notion as test it. Is it true that transplanting strengthens the plant? Or can such experiments produce mixed outcomes?
As her characters mature in their new environments, they carry with them the potential for upheaval. Geography is no guarantee of security. Lahiri shows that people may be felled at any time by swift jabs of chance, wherever they happen to live. Uncontrollable events may assail them — accidents of fate, health or weather. More often, they suffer less dramatic reversals: failed love affairs, alcoholism, even simple passivity — the sort of troubles that seem avoidable to everyone except the person who succumbs to them. Like Laura, the well-meaning narrator of “Brief Encounter,” the men and women of Lahiri’s stories often find themselves overwhelmed by unexpected passions. They share her refrain: “I didn’t think such violent things could happen to ordinary people.” Again and again, the reader is caught off-guard by the accesses of emotion and experience that waylay Lahiri’s characters, despite their peregrinations, their precautions, their concealments.
Each of the five stories in the book’s first section is self-contained. In “Hell-Heaven,” the assimilated Bengali-American narrator considers how little thought she once gave to her mother’s sacrifices as she reconstructs the tormenting, unrequited passion her young mother had for a graduate student during the narrator’s childhood. In “Only Goodness,” an older sister learns a sharp lesson about the limits of her responsibility to a self-destructive younger brother. “A Choice of Accommodations” shows a shift in power dynamics between a Bengali-American husband and his workaholic Anglo wife during a weekend away from their kids — at the wedding of the husband’s prep-school crush. And the American graduate student at the center of “Nobody’s Business” pines for his Bengali-American roommate, a graduate-school dropout who entertains no romantic feelings for him, spurns the polite advances of “prospective grooms” from the global Bengali singles circuit and considers herself engaged to a selfish, foul-tempered Egyptian historian.
In the title story, Ruma, a Bengali-American lawyer, repeats her mother’s life pattern when she gives up her job and follows her husband to a distant city as they await the birth of their second child. “Growing up, her mother’s example — moving to a foreign place for the sake of marriage, caring exclusively for children and a household — had served as a warning, a path to avoid. Yet this was Ruma’s life now.” The nurturing force field of pregnancy shields Ruma from the sting this reflection might be expected to provoke, but it doesn’t protect her widowed father. When he visits her in Seattle from his condo in Pennsylvania, he asks her a very American question: “Will this make you happy?” Urging Ruma not to isolate herself, to look for work, he reminds her that “self-reliance is important.” Thinking back on his wife’s unhappiness in the early years of their marriage, he realizes that “he had always assumed Ruma’s life would be different.” But if his daughter chooses a life in Seattle that she could have led in Calcutta, who’s to say this isn’t evidence of another kind of freedom?
Ruma is struck by how much her father “resembled an American in his old age. With his gray hair and fair skin he could have been practically from anywhere.” Seeing his daughter, Ruma’s father has the opposite reaction: “She now resembled his wife so strongly that he could not bear to look at her directly.” Ruma’s identity, Lahiri suggests, is affected less by her coordinates on the globe than by the internal indices of her will. She is a creature of the American soil, but she carries her own emotional bearings within her. What are the real possibilities for change attached to a move? Lahiri seems to ask. What are the limits?
While tending Ruma’s neglected garden, her father shows his grandson how to sow seeds. The boy digs holes, but plants Legos in them, along with a plastic dinosaur and a wooden block with a star. Emblems of the international, the prehistoric and the celestial, they are buried in one garden plot, auguries of an ideal future, a utopia that could be anywhere or nowhere. How can it grow?
Lahiri’s final three stories, grouped together as “Hema and Kaushik,” explore the overlapping histories of the title characters, a girl and boy from two Bengali immigrant families, set during significant moments of their lives. “Once in a Lifetime” begins in 1974, the year Kaushik Choudhuri and his parents leave Cambridge and return to India. Seven years later, when the Choudhuris return to Massachusetts, Hema’s parents are perplexed to find that “Bombay had made them more American than Cambridge had.” The next story, “Year’s End,” visits Kaushik during his senior year at Swarthmore as he wrestles with the news of his father’s remarriage and meets his father’s new wife and stepdaughters. The final story, “Going Ashore,” begins with Hema, now a Latin professor at Wellesley, spending a few months in Rome before entering into an arranged marriage with a parent-approved Hindu Punjabi man named Navin. Hema likes Navin’s traditionalism and respect: “It touched her to be treated, at 37, like a teenaged girl.” The couple plan to settle in Massachusetts. But in Rome, Hema runs across Kaushik, now a world-roving war photographer. “As a photographer, his origins were irrelevant,” Kaushik thinks. But how irrelevant are Kaushik’s origins — to Hema and to himself? And which suitor will Hema choose? The romantic who has no home outside of memory? Or the realist who wants to make a home where his wife chooses to live?
Except for their names, “Hema and Kaushik” could evoke any American’s ’70s childhood, any American’s bittersweet acceptance of the compromises of adulthood. The generational conflicts Lahiri depicts cut across national lines; the waves of admiration, competition and criticism that flow between the two families could occur between Smiths and Taylors in any suburban town; and the fight for connection and control between Hema and Kaushik — as children and as adults — replays the tussle that has gone on ever since men and women lived in caves.
Lahiri handles her characters without leaving any fingerprints. She allows them to grow as if unguided, as if she were accompanying them rather than training them through the espalier of her narration. Reading her stories is like watching time-lapse nature videos of different plants, each with its own inherent growth cycle, breaking through the soil, spreading into bloom or collapsing back to earth.
Liesl Schillinger is a regular contributor to the Book Review.
More and more often she has found this weekday commodore of Wall Street in just this place and dressed in just this fashion come Saturday morning: slumped at the shoulder and blank in the eye, a white scruff showing on his cheeks, man-tits sagging out the front of his T, hair standing up in back like Alfalfa of the Little Rascals grown old and stupid. Janet and her friend Hannah have frightened each other lately (like little girls telling ghost stories during a sleepover) by swapping Alzheimer’s tales: who can no longer recognize his wife, who can no longer remember the names of her children.
But she doesn’t really believe these silent Saturday-morning appearances have anything to do with early-onset Alzheimer’s; on any given weekday morning Harvey Stevens is ready and raring to go by six-forty-five, a man of sixty who looks fifty (well, fifty-four) in either of his best suits, and who can still cut a trade, buy on margin, or sell short with the best of them.
No, she thinks, this is merely practicing to be old, and she hates it. She’s afraid that when he retires it will be this way every morning, at least until she gives him a glass of orange juice and asks him (with an increasing impatience she won’t be able to help) if he wants cereal or just toast. She’s afraid she’ll turn from whatever she’s doing and see him sitting there in a bar of far too brilliant morning sun, Harvey in the morning, Harvey in his T-shirt and his boxer shorts, legs spread apart so she can view the meagre bulge of his basket (should she care to) and see the yellow calluses on his great toes, which always make her think of Wallace Stevens having on about the Emperor of Ice Cream. Sitting there silent and dopily contemplative instead of ready and raring, psyching himself up for the day. God, she hopes she’s wrong. It makes life seem so thin, so stupid somehow. She can’t help wondering if this is what they fought through for, raised and married off their three girls for, got past his inevitable middle-aged affair for, worked for and sometimes (let’s face it) grabbed for. If this is where you come out of the deep dark woods, Janet thinks, this . . . this parking lot . . . then why does anyone do it?
But the answer is easy. Because you didn’t know. You discarded most of the lies along the way but held on to the one that said life mattered. You kept a scrapbook devoted to the girls, and in it they were still young and still interesting in their possibilities: Trisha, the eldest, wearing a top hat and waving a tinfoil wand over Tim, the cocker spaniel; Jenna, frozen in mid-jump halfway through the lawn sprinkler, her taste for dope, credit cards, and older men still far over the horizon; Stephanie, the youngest, at the county spelling bee, where “cantaloupe” turned out to be her Waterloo. Somewhere in most of these pictures (usually in the background) were Janet and the man she had married, always smiling, as if it were against the law to do anything else.
Then one day you made the mistake of looking over your shoulder and discovered that the girls were grown and that the man you had struggled to stay married to was sitting with his legs apart, his fish-white legs, staring into a bar of sun, and by God maybe he looked fifty-four in either of his best suits, but sitting there at the kitchen table like that he looked seventy. Hell, seventy-five. He looked like what the goons on “The Sopranos” called a mope.
She turns back to the sink and sneezes delicately, once, twice, a third time.
“How are they this morning?” he asks, meaning her sinuses, meaning her allergies. The answer is not very good, but, like a surprising number of bad things, her summer allergies have their sunny side. She no longer has to sleep with him and fight for her share of the covers in the middle of the night; no longer has to listen to the occasional muffled fart as Harvey soldiers ever deeper into sleep. Most nights during the summer she gets six, even seven hours, and that’s more than enough. When fall comes and he moves back in from the guest room, it will drop to four, and much of that will be troubled.
One year, she knows, he won’t move back in. And although she doesn’t tell him so—it would hurt his feelings, and she still doesn’t like to hurt his feelings; this is what now passes for love between them, at least going from her direction to his—she will be glad.
She sighs and reaches into the pot of water in the sink. Gropes around in it. “Not so bad,” she says.
And then, just when she is thinking (and not for the first time) about how this life holds no more surprises, no unplumbed marital depths, he says in a strangely casual voice, “It’s a good thing you weren’t sleeping with me last night, Jax. I had a bad dream. I actually screamed myself awake.”
She’s startled. How long has it been since he called her Jax instead of Janet or Jan? The last is a nickname she secretly hates. It makes her think of that syrupy-sweet actress on “Lassie” when she was a kid, the little boy (Timmy, his name was Timmy) always fell down a well or got bitten by a snake or trapped under a rock, and what kind of parents put a kid’s life in the hands of a fucking collie?
She turns to him again, forgetting the pot with the last egg still in it, the water now long enough off the boil to be lukewarm. He had a bad dream? Harvey? She tries to remember when Harvey has mentioned having had any kind of dream and has no luck. All that comes is a vague memory of their courtship days, Harvey saying something like “I dream of you,” she herself young enough to think it sweet instead of lame.
“You what?”
“Screamed myself awake,” he says. “Did you not hear me?”
“No.” Still looking at him. Wondering if he’s kidding her. If it’s some kind of bizarre morning joke. But Harvey is not a joking man. His idea of humor is telling anecdotes at dinner about his Army days. She has heard all of them at least a hundred times.
“I was screaming words, but I wasn’t really able to say them. It was like . . . I don’t know . . . I couldn’t close my mouth around them. I sounded like I’d had a stroke. And my voice was lower. Not like my own voice at all.” He pauses. “I heard myself, and made myself stop. But I was shaking all over, and I had to turn on the light for a little while. I tried to pee, and I couldn’t. These days it seems like I can always pee—a little, anyway—but not this morning at two-forty-seven.” He pauses, sitting there in his bar of sun. She can see dust motes dancing in it. They seem to give him a halo.
“What was your dream?” she asks, and here is an odd thing: for the first time in maybe five years, since they stayed up until midnight discussing whether to hold the Motorola stock or sell it (they wound up selling), she’s interested in something he has to say.
“I don’t know if I want to tell you,” he says, sounding uncharacteristically shy. He turns, picks up the pepper mill, and begins to toss it from hand to hand.
“They say if you tell your dreams they won’t come true,” she says to him, and here is Odd Thing No. 2: all at once Harvey looks there, in a way he hasn’t looked to her in years. Even his shadow on the wall above the toaster oven looks somehow more there. She thinks, He looks as though he matters, and why should that be? Why, when I was just thinking that life is thin, should it seem thick? This is a summer morning in late June. We are in Connecticut. When June comes we are always in Connecticut. Soon one of us will get the newspaper, which will be divided into three parts, like Gaul.
“Do they say so?” He considers the idea, eyebrows raised (she needs to pluck them again, they are getting that wild look, and he never knows), tossing the pepper mill from hand to hand. She would like to tell him to stop doing that, it’s making her nervous (like the exclamatory blackness of his shadow on the wall, like her very beating heart, which has suddenly begun to accelerate its rhythm for no reason at all), but she doesn’t want to distract him from whatever is going on in his Saturday-morning head. And then he puts the pepper mill down anyway, which should be all right but somehow isn’t, because it has its own shadow—it runs out long on the table like the shadow of an oversized chess piece, even the toast crumbs lying there have shadows, and she has no idea why that should frighten her but it does. She thinks of the Cheshire Cat telling Alice, “We’re all mad here,” and suddenly she doesn’t want to hear Harvey’s stupid dream, the one from which he awakened himself screaming and sounding like a man who has had a stroke. Suddenly she doesn’t want life to be anything but thin. Thin is O.K., thin is good, just look at the actresses in the movies if you doubt it.
Nothing must announce itself, she thinks feverishly. Yes, feverishly; it’s as if she’s having a hot flash, although she could have sworn all that nonsense ended two or three years ago. Nothing must announce itself, it’s Saturday morning and nothing must announce itself.
She opens her mouth to tell him she got it backward, what they really say is that if you tell your dreams they will come true, but it’s too late, he’s already talking, and it occurs to her that this is her punishment for dismissing life as thin. Life is actually like a Jethro Tull song, thick as a brick, how could she have ever thought otherwise?
“I dreamed it was morning and I came down to the kitchen,” he says. “Saturday morning, just like this, only you weren’t up yet.”
“I’m always up before you on Saturday morning,” she says.
“I know, but this was a dream,” he says patiently, and she can see the white hairs on the insides of his thighs, where the muscles are wasted and starved. Once he played tennis, but those days are done. She thinks, with a viciousness that is entirely unlike her, You will have a heart attack, white man, that’s what will finish you, and maybe they’ll discuss giving you an obit in the Times, but if a B-movie actress from the fifties died that day, or a semi-famous ballerina from the forties, you won’t even get that.
“But it was like this,” he says. “I mean, the sun was shining in.” He raises a hand and stirs the dust motes into lively life around his head and she wants to scream at him not to do that, not to disturb the universe like that.
“I could see my shadow on the floor and it never looked so bright or so thick.” He pauses, then smiles, and she sees how cracked his lips are. “ ‘Bright’ ’s a funny word to use for a shadow, isn’t it? ‘Thick,’ too.”
“Harvey—”
“I crossed to the window,” he says, “and I looked out, and I saw there was a dent in the side of the Friedmans’ Volvo, and I knew—somehow—that Frank had been out drinking and that the dent happened coming home.”
She suddenly feels that she will faint. She saw the dent in the side of Frank Friedman’s Volvo herself, when she went to the door to see if the newspaper had come (it hadn’t), and she thought the same thing, that Frank had been out at the Gourd and scraped something in the parking lot. How does the other guy look? had been her exact thought.
The idea that Harvey has also seen this comes to her, that he is goofing with her for some strange reason of his own. Certainly it’s possible; the guest room where he sleeps on summer nights has an angle on the street. Only Harvey isn’t that sort of man. “Goofing” is not Harvey Stevens’s “thing.”
There is sweat on her cheeks and brow and neck, she can feel it, and her heart is beating faster than ever. There really is a sense of something looming, and why should this be happening now? Now, when the world is quiet, when prospects are tranquil? If I asked for this, I’m sorry, she thinks . . . or maybe she’s actually praying. Take it back, please take it back.
“I went to the refrigerator,” Harvey is saying, “and I looked inside, and I saw a plate of devilled eggs with a piece of Saran wrap over them. I was delighted—I wanted lunch at seven in the morning!”
He laughs. Janet—Jax that was—looks down into the pot sitting in the sink. At the one hard-boiled egg left in it. The others have been shelled and neatly sliced in two, the yolks scooped out. They are in a bowl beside the drying rack. Beside the bowl is the jar of mayonnaise. She has been planning to serve the devilled eggs for lunch, along with a green salad.
“I don’t want to hear the rest,” she says, but in a voice so low she can barely hear it herself. Once she was in the Dramatics Club and now she can’t even project across the kitchen. The muscles in her chest feel all loose, the way Harvey’s legs would if he tried to play tennis.
“I thought I would have just one,” Harvey says, “and then I thought, No, if I do that she’ll yell at me. And then the phone rang. I dashed for it because I didn’t want it to wake you up, and here comes the scary part. Do you want to hear the scary part?”
No, she thinks from her place by the sink. I don’t want to hear the scary part. But at the same time she does want to hear the scary part, everyone wants to hear the scary part, we’re all mad here, and her mother really did say that if you told your dreams they wouldn’t come true, which meant you were supposed to tell the nightmares and save the good ones for yourself, hide them like a tooth under the pillow. They have three girls. One of them lives just down the road, Jenna the gay divorcée, same name as one of the Bush twins, and doesn’t Jenna hate that; these days she insists that people call her Jen. Three girls, which meant a lot of teeth under a lot of pillows, a lot of worries about strangers in cars offering rides and candy, which had meant a lot of precautions, and oh how she hopes her mother was right, that telling a bad dream is like putting a stake in a vampire’s heart.
“I picked up the phone,” Harvey says, “and it was Trisha.” Trisha is their oldest daughter, who idolized Houdini and Blackstone before discovering boys. “She only said one word at first, just ‘Dad,’ but I knew it was Trisha. You know how you always know?”
Yes. She knows how you always know. How you always know your own, from the very first word, at least until they grow up and become someone else’s.
“I said, ‘Hi, Trish, why you calling so early, hon? Your mom’s still in the sack.’ And at first there was no answer. I thought we’d been cut off, and then I heard these whispering whimpering sounds. Not words but half-words. Like she was trying to talk but hardly anything could come out because she wasn’t able to muster any strength or get her breath. And that was when I started being afraid.”
Well, then, he’s pretty slow, isn’t he? Because Janet—who was Jax at Sarah Lawrence, Jax in the Dramatics Club, Jax the truly excellent French-kisser, Jax who smoked Gitanes and affected enjoyment of tequila shooters—Janet has been scared for quite some time now, was scared even before Harvey mentioned the dent in the side of Frank Friedman’s Volvo. And thinking of that makes her think of the phone conversation she had with her friend Hannah not even a week ago, the one that eventually progressed to Alzheimer’s ghost stories. Hannah in the city, Janet curled up on the window seat in the living room and looking out at their one-acre share of Westport, at all the beautiful growing things that make her sneeze and water at the eyes, and before the conversation turned to Alzheimer’s they had discussed first Lucy Friedman and then Frank, and which one of them had said it? Which one of them had said, “If he doesn’t do something about his drinking and driving, he’s eventually going to kill somebody”?
“And then Trish said what sounded like ‘lees’ or ‘least,’ but in the dream I knew she was . . . eliding? . . . is that the word? Eliding the first syllable, and that what she was really saying was ‘police.’ I asked her what about the police, what was she trying to say about the police, and I sat down. Right there.” He points to the chair in what they call the telephone nook. “There was some more silence, then a few more of those half-words, those whispered half-words. She was making me so mad doing that, I thought, Drama queen, same as it ever was, but then she said, ‘number,’ just as clear as a bell. And I knew—the way I knew she was trying to say ‘police’—that she was trying to tell me the police had called her because they didn’t have our number.”
Janet nods numbly. They decided to unlist their number two years ago because reporters kept calling Harvey about the Enron mess. Usually at dinnertime. Not because he’d had anything to do with Enron per se but because those big energy companies were sort of a specialty of his. He’d even served on a Presidential commission a few years earlier, when Clinton had been the big kahuna and the world had been (in her humble opinion, at least) a slightly better, slightly safer place. And while there were a lot of things about Harvey she no longer liked, one thing she knew perfectly well was that he had more integrity in his little finger than all those Enron sleazebags put together. She might sometimes be bored by integrity, but she knows what it is.
But don’t the police have a way of getting unlisted numbers? Well, maybe not if they’re in a hurry to find something out or tell somebody something. Plus, dreams don’t have to be logical, do they? Dreams are poems from the subconscious.
And now, because she can no longer bear to stand still, she goes to the kitchen door and looks out into the bright June day, looks out at Sewing Lane, which is their little version of what she supposes is the American dream. How quiet this morning lies, with a trillion drops of dew still sparkling on the grass! And still her heart hammers in her chest and the sweat rolls down her face and she wants to tell him he must stop, he must not tell this dream, this terrible dream. She must remind him that Jenna lives right down the road—Jen, that is, Jen who works at the Video Stop in the village and spends all too many weekend nights drinking at the Gourd with the likes of Frank Friedman, who is old enough to be her father. Which is undoubtedly part of the attraction.
“All these whispered little half-words,” Harvey is saying, “and she would not speak up. Then I heard ‘killed,’ and I knew that one of the girls was dead. I just knew it. Not Trisha, because it was Trisha on the phone, but either Jenna or Stephanie. And I was so scared. I actually sat there wondering which one I wanted it to be, like Sophie’s fucking Choice. I started to shout at her. ‘Tell me which one! Tell me which one! For God’s sake, Trish, tell me which one!’ Only then the real world started to bleed through . . . always assuming there is such a thing. . . .”
Harvey utters a little laugh, and in the bright morning light Janet sees there is a red stain in the middle of the dent on the side of Frank Friedman’s Volvo, and in the middle of the stain is a dark smutch that might be dirt or even hair. She can see Frank pulling up crooked to the curb at two in the morning, too drunk even to try the driveway, let alone the garage—strait is the gate, and all that. She can see him stumbling to the house with his head down, breathing hard through his nose. Viva ze bool.
“By then I knew I was in bed, but I could hear this low voice that didn’t sound like mine at all, it sounded like some stranger’s voice, and it couldn’t put corners on any of the words it was saying. ‘Ell-ee itch-un, ell-ee itch-un,’ that’s what it sounded like. ‘Ell-ee itch-un, Ish!’ ”
Tell me which one. Tell me which one, Trish.
Harvey falls silent, thinking. Considering. The dust motes dance around his face. The sun makes his T-shirt almost too dazzling to look at; it is a T-shirt from a laundry-detergent ad.
“I lay there waiting for you to run in and see what was wrong,” he finally says. “I lay there all over goosebumps, and trembling, telling myself it was just a dream, the way you do, of course, but also thinking how real it was. How marvellous, in a horrible way.”
He stops again, thinking how to say what comes next, unaware that his wife is no longer listening to him. Jax-that-was is now employing all her mind, all her considerable powers of thought, to make herself believe that what she is seeing is not blood but just the Volvo’s undercoating where the paint has been scraped away. “Undercoating” is a word her subconscious has been more than eager to cast up.
“It’s amazing, isn’t it, how deep imagination goes?” he says finally. “A dream like that is how a poet—one of the really great ones—must see his poem. Every detail so clear and so bright.”
He falls silent and the kitchen belongs to the sun and the dancing motes; outside, the world is on hold. Janet looks at the Volvo across the street; it seems to pulse in her eyes, thick as a brick. When the phone rings, she would scream if she could draw breath, cover her ears if she could lift her hands. She hears Harvey get up and cross to the nook as it rings again, and then a third time.
It is a wrong number, she thinks. It has to be, because if you tell your dreams they don’t come true.
If the prospect of a collection of stories by Stephen King isn’t as inviting as a new King novel, it’s not just because the writer’s recent novels — “Duma Key,” “Lisey’s Story” and especially “Cell” and “From a Buick 8” — have been so good. It’s because King continues to be dedicated to giving his readers a luxuriant experience, the basic pleasure of getting lost in a book.
In his introduction to the new collection “Just After Sunset,” King explains that as a young almost-poor schoolteacher trying to get a writing career started, stories, many of them published in men’s magazines like Dude and Cavalier, were a way to a much needed check when the car needed a muffler or his wife’s birthday was coming up. King says the stories simply came out, and he wasn’t too concerned with learning what constituted good structure. “I was flying entirely by the seat of my pants,” he writes, “running on nothing but intuition and a kid’s self-confidence.”
King goes on to say that getting a chance to edit the 2007 edition of “The Best American Short Stories” gave him an excuse to read a bunch of stories. It also, he says, inspired him to try to recapture the knack for writing stories that, along the way, had given way to the more expansive pursuit of writing novels.
“Just After Sunset” suggests why. It’s an uneven collection, in both tone and execution, and it often reminds you of how King’s writing has moved beyond its genre roots. That’s not to affirm the critics who’ve reduced King’s writing to penny dreadfuls that have no bearing on the real world. Good writing of the fantastic and the macabre is always based in recognizable emotion. Noting the detail and empathy that have long made him one of the most observant chroniclers of American middle-class life, the critic Laura Miller shrewdly observed that King should accurately be judged “a realist.”
In “Just After Sunset,” there are only flashes of the kind of recognition that King the novelist provides, and the short-story form does not allow him the space to turn his plot devices into metaphors. For me, that was most apparent in “N.” The tale has a tricky story-within-a-story structure. A woman whose psychiatrist brother has committed suicide forwards his notes to a boyhood friend who is now a television doctor. The notes tell of the shrink’s sessions with a patient who has come upon an odd patch of Maine woods where something evil and powerful lurks. The story showcases King’s almost unholy talent for making the natural world seem like something not of this world. But just when you’re ready for whatever is lurking in those woods to fully reveal itself and the power it wields, the story ends — granted, on an unsettling and clever note. But King seems to be just warming up, and the story feels like a sketch for one of his novel-length freakouts.
Other stories range from the delirious bad taste of “The Cat From Hell” to the just plain bad taste of “A Very Tight Place,” from the gloppily inspirational “Ayana” to the botched brilliance of “The Things They Left Behind.” I have a special fondness for “The Cat From Hell.” Little furry creatures are often the victims in horror stories. King’s tale is revenge for every fictional house pet ever perfunctorily slaughtered in the name of thrills. It’s disgusting, and I mean that as a compliment.
“The Things They Left Behind” proceeds to a tidy, too heartwarming ending. Imperfect though it is, it’s also the most affecting and scary story here. The narrator is an office worker who, in order to savor a late-summer day, called in sick on Sept. 11. About a year later, artifacts that belonged to his murdered co-workers begin turning up in his apartment. And that’s not all. At night, they begin whispering to each other, often in the voices of their dead owners.
So much hand-wringing has already been expended over the question of how art should deal with 9/11. No fiction that has attempted the subject has, to my mind, been as effective (or as affecting) as King’s “From a Buick 8” and “Cell.” Both novels were direct and oblique, not mentioning 9/11 but addressing the question of how you retain your humanity after the unthinkable has entered your life. (In “Cell,” the characters’ reaction to the numbers 9-1-1 determines whether they remain human or become monsters.) There’s nothing oblique in “The Things They Left Behind.” King employs a simple, unnerving device to address the way the presence of the dead was palpable in the city following 9/11.
Despite the disappointments of “Just After Sunset,” and the sense that these stories remain, at some level, an exercise, a stopgap for the next full-fledged King project, the book also feels like the work of a writer who, even in less than top form, wouldn’t dream of breaking faith with his readers.
Part of what I respect about Stephen King — and I suspect it’s part of what drives some of his fellow writers and some critics crazy — is the honesty of that admission, in this book’s introduction, that he churned out stories for money. There’s no pretense that he was “honing his craft” or “perfecting the form,” no attempt to disguise the fact that any writer who is honest enough admits to doing some time on Grub Street. Which is why, in books like “The Dark Half” and “The Shining,” King has been so witheringly accurate about the vanity and pettiness of writers.
King’s critical reputation has by now had more corrections than the Dow. He has been both Horror Hack and Underrated Littérateur. Every few years, usually in the name of what Terry Southern called the “quality lit game,” somebody decides he’s taken too seriously and needs to be put back in the drugstore racks where they think he belongs. And any critical defense of King is usually good for a round of claims that said critic is decrying literature or assuming that book sales equal quality.
So let’s be clear. King isn’t good because he’s popular. But any critic who puts King’s popularity down to the dreadful taste of the masses (cue Harold Bloom) has failed to do the basic work of a critic, which is to understand and probe and not simply to judge. King gets to readers because he renders everyday life so exactly and because he understands it is always ready to rupture.
The literary critic Leslie Fiedler, in an interview given a few weeks before he died, recalled telling a group of postmodern fiction writers, “Look, let’s be frank with each other: When all of us are forgotten, people will still be remembering Stephen King.” Anyone who claims to be interested in contemporary American literature needs to understand what he’ll be remembered for.
Charles Taylor is a columnist for The Newark Star-Ledger and Bloomberg News.
The Invisible Man A Grotesque Romance by H. G. Wells
CHAPTER I
THE STRANGE MAN'S ARRIVAL
The stranger came early in February, one wintry day, through a biting wind and a driving snow, the last snowfall of the year, over the down, walking from Bramblehurst railway station, and carrying a little black portmanteau in his thickly gloved hand. He was wrapped up from head to foot, and the brim of his soft felt hat hid every inch of his face but the shiny tip of his nose; the snow had piled itself against his shoulders and chest, and added a white crest to the burden he carried. He staggered into the "Coach and Horses" more dead than alive, and flung his portmanteau down. "A fire," he cried, "in the name of human charity! A room and a fire!" He stamped and shook the snow from off himself in the bar, and followed Mrs. Hall into her guest parlour to strike his bargain. And with that much introduction, that and a couple of sovereigns flung upon the table, he took up his quarters in the inn. Mrs. Hall lit the fire and left him there while she went to prepare him a meal with her own hands. A guest to stop at Iping in the wintertime was an unheard-of piece of luck, let alone a guest who was no "haggler," and she was resolved to show herself worthy of her good fortune. As soon as the bacon was well under way, and Millie, her lymphatic aid, had been brisked up a bit by a few deftly chosen expressions of contempt, she carried the cloth, plates, and glasses into the parlour and began to lay them with the utmost _eclat_. Although the fire was burning up briskly, she was surprised to see that her visitor still wore his hat and coat, standing with his back to her and staring out of the window at the falling snow in the yard. His gloved hands were clasped behind him, and he seemed to be lost in thought. She noticed that the melting snow that still sprinkled his shoulders dripped upon her carpet. "Can I take your hat and coat, sir?" she said, "and give them a good dry in the kitchen?" "No," he said without turning. She was not sure she had heard him, and was about to repeat her question. He turned his head and looked at her over his shoulder. "I prefer to keep them on," he said with emphasis, and she noticed that he wore big blue spectacles with sidelights, and had a bush side-whisker over his coat-collar that completely hid his cheeks and face. "Very well, sir," she said. "_As_ you like. In a bit the room will be warmer."
He made no answer, and had turned his face away from her again, and Mrs. Hall, feeling that her conversational advances were ill-timed, laid the rest of the table things in a quick staccato and whisked out of the room. When she returned he was still standing there, like a man of stone, his back hunched, his collar turned up, his dripping hat-brim turned down, hiding his face and ears completely. She put down the eggs and bacon with considerable emphasis, and called rather than said to him, "Your lunch is served, sir." "Thank you," he said at the same time, and did not stir until she was closing the door. Then he swung round and approached the table with a certain eager quickness. As she went behind the bar to the kitchen she heard a sound repeated at regular intervals. Chirk, chirk, chirk, it went, the sound of a spoon being rapidly whisked round a basin. "That girl!" she said. "There! I clean forgot it. It's her being so long!" And while she herself finished mixing the mustard, she gave Millie a few verbal stabs for her excessive slowness. She had cooked the ham and eggs, laid the table, and done everything, while Millie (help indeed!) had only succeeded in delaying the mustard. And him a new guest and wanting to stay! Then she filled the mustard pot, and, putting it with a certain stateliness upon a gold and black tea-tray, carried it into the parlour.
She rapped and entered promptly. As she did so her visitor moved quickly, so that she got but a glimpse of a white object disappearing behind the table. It would seem he was picking something from the floor. She rapped down the mustard pot on the table, and then she noticed the overcoat and hat had been taken off and put over a chair in front of the fire, and a pair of wet boots threatened rust to her steel fender. She went to these things resolutely. "I suppose I may have them to dry now," she said in a voice that brooked no denial.
"Leave the hat," said her visitor, in a muffled voice, and turning she saw he had raised his head and was sitting and looking at her.
For a moment she stood gaping at him, too surprised to speak.
He held a white cloth--it was a serviette he had brought with him--over the lower part of his face, so that his mouth and jaws were completely hidden, and that was the reason of his muffled voice. But it was not that which startled Mrs. Hall. It was the fact that all his forehead above his blue glasses was covered by a white bandage, and that another covered his ears, leaving not a scrap of his face exposed excepting only his pink, peaked nose. It was bright, pink, and shiny just as it had been at first. He wore a dark-brown velvet jacket with a high, black, linen-lined collar turned up about his neck. The thick black hair, escaping as it could below and between the cross bandages, projected in curious tails and horns, giving him the strangest appearance conceivable. This muffled and bandaged head was so unlike what she had anticipated, that for a moment she was rigid.
He did not remove the serviette, but remained holding it, as she saw now, with a brown gloved hand, and regarding her with his inscrutable blue glasses. "Leave the hat," he said, speaking very distinctly through the white cloth.
Her nerves began to recover from the shock they had received. She placed the hat on the chair again by the fire. "I didn't know, sir," she began, "that--" and she stopped embarrassed.
"Thank you," he said drily, glancing from her to the door and then at her again.
"I'll have them nicely dried, sir, at once," she said, and carried his clothes out of the room. She glanced at his white-swathed head and blue goggles again as she was going out of the door; but his napkin was still in front of his face. She shivered a little as she closed the door behind her, and her face was eloquent of her surprise and perplexity. "I _never_," she whispered. "There!" She went quite softly to the kitchen, and was too preoccupied to ask Millie what she was messing about with _now_, when she got there.
The visitor sat and listened to her retreating feet. He glanced inquiringly at the window before he removed his serviette, and resumed his meal. He took a mouthful, glanced suspiciously at the window, took another mouthful, then rose and, taking the serviette in his hand, walked across the room and pulled the blind down to the top of the white muslin that obscured the lower panes. This left the room in a twilight. This done, he returned with an easier air to the table and his meal.
"The poor soul's had an accident or an op'ration or somethin'," said Mrs. Hall. "What a turn them bandages did give me, to be sure!"
She put on some more coal, unfolded the clothes-horse, and extended the traveller's coat upon this. "And they goggles! Why, he looked more like a divin' helmet than a human man!" She hung his muffler on a corner of the horse. "And holding that handkerchief over his mouth all the time. Talkin' through it! ... Perhaps his mouth was hurt too--maybe."
She turned round, as one who suddenly remembers. "Bless my soul alive!" she said, going off at a tangent; "ain't you done them taters _yet_, Millie?"
When Mrs. Hall went to clear away the stranger's lunch, her idea that his mouth must also have been cut or disfigured in the accident she supposed him to have suffered, was confirmed, for he was smoking a pipe, and all the time that she was in the room he never loosened the silk muffler he had wrapped round the lower part of his face to put the mouthpiece to his lips. Yet it was not forgetfulness, for she saw he glanced at it as it smouldered out. He sat in the corner with his back to the window-blind and spoke now, having eaten and drunk and being comfortably warmed through, with less aggressive brevity than before. The reflection of the fire lent a kind of red animation to his big spectacles they had lacked hitherto.
"I have some luggage," he said, "at Bramblehurst station," and he asked her how he could have it sent. He bowed his bandaged head quite politely in acknowledgment of her explanation. "To-morrow?" he said. "There is no speedier delivery?" and seemed quite disappointed when she answered, "No." Was she quite sure? No man with a trap who would go over?
Mrs. Hall, nothing loath, answered his questions and developed a conversation. "It's a steep road by the down, sir," she said in answer to the question about a trap; and then, snatching at an opening, said, "It was there a carriage was upsettled, a year ago and more. A gentleman killed, besides his coachman. Accidents, sir, happen in a moment, don't they?"
But the visitor was not to be drawn so easily. "They do," he said through his muffler, eyeing her quietly through his impenetrable glasses.
"But they take long enough to get well, don't they? ... There was my sister's son, Tom, jest cut his arm with a scythe, tumbled on it in the 'ayfield, and, bless me! he was three months tied up sir. You'd hardly believe it. It's regular given me a dread of a scythe, sir."
"I can quite understand that," said the visitor.
"He was afraid, one time, that he'd have to have an op'ration--he was that bad, sir."
The visitor laughed abruptly, a bark of a laugh that he seemed to bite and kill in his mouth. "_Was_ he?" he said.
"He was, sir. And no laughing matter to them as had the doing for him, as I had--my sister being took up with her little ones so much. There was bandages to do, sir, and bandages to undo. So that if I may make so bold as to say it, sir--"
"Will you get me some matches?" said the visitor, quite abruptly. "My pipe is out."
Mrs. Hall was pulled up suddenly. It was certainly rude of him, after telling him all she had done. She gasped at him for a moment, and remembered the two sovereigns. She went for the matches.
"Thanks," he said concisely, as she put them down, and turned his shoulder upon her and stared out of the window again. It was altogether too discouraging. Evidently he was sensitive on the topic of operations and bandages. She did not "make so bold as to say," however, after all. But his snubbing way had irritated her, and Millie had a hot time of it that afternoon.
The visitor remained in the parlour until four o'clock, without giving the ghost of an excuse for an intrusion. For the most part he was quite still during that time; it would seem he sat in the growing darkness smoking in the firelight--perhaps dozing.
Once or twice a curious listener might have heard him at the coals, and for the space of five minutes he was audible pacing the room. He seemed to be talking to himself. Then the armchair creaked as he sat down again.
CHAPTER II
MR. TEDDY HENFREY'S FIRST IMPRESSIONS
At four o'clock, when it was fairly dark and Mrs. Hall was screwing up her courage to go in and ask her visitor if he would take some tea, Teddy Henfrey, the clock-jobber, came into the bar. "My sakes! Mrs. Hall," said he, "but this is terrible weather for thin boots!" The snow outside was falling faster.
Mrs. Hall agreed, and then noticed he had his bag with him. "Now you're here, Mr. Teddy," said she, "I'd be glad if you'd give th' old clock in the parlour a bit of a look. 'Tis going, and it strikes well and hearty; but the hour-hand won't do nuthin' but point at six."
And leading the way, she went across to the parlour door and rapped and entered.
Her visitor, she saw as she opened the door, was seated in the armchair before the fire, dozing it would seem, with his bandaged head drooping on one side. The only light in the room was the red glow from the fire--which lit his eyes like adverse railway signals, but left his downcast face in darkness--and the scanty vestiges of the day that came in through the open door. Everything was ruddy, shadowy, and indistinct to her, the more so since she had just been lighting the bar lamp, and her eyes were dazzled. But for a second it seemed to her that the man she looked at had an enormous mouth wide open--a vast and incredible mouth that swallowed the whole of the lower portion of his face. It was the sensation of a moment: the white-bound head, the monstrous goggle eyes, and this huge yawn below it. Then he stirred, started up in his chair, put up his hand.
She opened the door wide, so that the room was lighter, and she saw him more clearly, with the muffler held up to his face just as she had seen him hold the serviette before. The shadows, she fancied, had tricked her.
"Would you mind, sir, this man a-coming to look at the clock, sir?" she said, recovering from the momentary shock.
"Look at the clock?" he said, staring round in a drowsy manner, and speaking over his hand, and then, getting more fully awake, "certainly."
Mrs. Hall went away to get a lamp, and he rose and stretched himself. Then came the light, and Mr. Teddy Henfrey, entering, was confronted by this bandaged person. He was, he says, "taken aback."
"Good afternoon," said the stranger, regarding him--as Mr. Henfrey says, with a vivid sense of the dark spectacles--"like a lobster."
"I hope," said Mr. Henfrey, "that it's no intrusion."
"None whatever," said the stranger. "Though, I understand," he said turning to Mrs. Hall, "that this room is really to be mine for my own private use."
"I thought, sir," said Mrs. Hall, "you'd prefer the clock--"
"Certainly," said the stranger, "certainly--but, as a rule, I like to be alone and undisturbed.
"But I'm really glad to have the clock seen to," he said, seeing a certain hesitation in Mr. Henfrey's manner. "Very glad." Mr. Henfrey had intended to apologise and withdraw, but this anticipation reassured him. The stranger turned round with his back to the fireplace and put his hands behind his back. "And presently," he said, "when the clock-mending is over, I think I should like to have some tea. But not till the clock-mending is over."
Mrs. Hall was about to leave the room--she made no conversational advances this time, because she did not want to be snubbed in front of Mr. Henfrey--when her visitor asked her if she had made any arrangements about his boxes at Bramblehurst. She told him she had mentioned the matter to the postman, and that the carrier could bring them over on the morrow. "You are certain that is the earliest?" he said.
She was certain, with a marked coldness.
"I should explain," he added, "what I was really too cold and fatigued to do before, that I am an experimental investigator."
"Indeed, sir," said Mrs. Hall, much impressed.
"And my baggage contains apparatus and appliances."
"Very useful things indeed they are, sir," said Mrs. Hall.
"And I'm very naturally anxious to get on with my inquiries."
"Of course, sir."
"My reason for coming to Iping," he proceeded, with a certain deliberation of manner, "was ... a desire for solitude. I do not wish to be disturbed in my work. In addition to my work, an accident--"
"I thought as much," said Mrs. Hall to herself.
"--necessitates a certain retirement. My eyes--are sometimes so weak and painful that I have to shut myself up in the dark for hours together. Lock myself up. Sometimes--now and then. Not at present, certainly. At such times the slightest disturbance, the entry of a stranger into the room, is a source of excruciating annoyance to me--it is well these things should be understood."
"Certainly, sir," said Mrs. Hall. "And if I might make so bold as to ask--"
"That I think, is all," said the stranger, with that quietly irresistible air of finality he could assume at will. Mrs. Hall reserved her question and sympathy for a better occasion.
After Mrs. Hall had left the room, he remained standing in front of the fire, glaring, so Mr. Henfrey puts it, at the clock-mending. Mr. Henfrey not only took off the hands of the clock, and the face, but extracted the works; and he tried to work in as slow and quiet and unassuming a manner as possible. He worked with the lamp close to him, and the green shade threw a brilliant light upon his hands, and upon the frame and wheels, and left the rest of the room shadowy. When he looked up, coloured patches swam in his eyes. Being constitutionally of a curious nature, he had removed the works--a quite unnecessary proceeding--with the idea of delaying his departure and perhaps falling into conversation with the stranger. But the stranger stood there, perfectly silent and still. So still, it got on Henfrey's nerves.
He felt alone in the room and looked up, and there, grey and dim, was the bandaged head and huge blue lenses staring fixedly, with a mist of green spots drifting in front of them. It was so uncanny to Henfrey that for a minute they remained staring blankly at one another. Then Henfrey looked down again. Very uncomfortable position! One would like to say something. Should he remark that the weather was very cold for the time of year?
He looked up as if to take aim with that introductory shot. "The weather--" he began.
"Why don't you finish and go?" said the rigid figure, evidently in a state of painfully suppressed rage. "All you've got to do is to fix the hour-hand on its axle. You're simply humbugging--"
"Certainly, sir--one minute more. I overlooked--" and Mr. Henfrey finished and went.
But he went feeling excessively annoyed. "Damn it!" said Mr. Henfrey to himself, trudging down the village through the thawing snow; "a man must do a clock at times, sure-ly."
And again "Can't a man look at you?--Ugly!"
And yet again, "Seemingly not. If the police was wanting you you couldn't be more wropped and bandaged."
At Gleeson's corner he saw Hall, who had recently married the stranger's hostess at the "Coach and Horses," and who now drove the Iping conveyance, when occasional people required it, to Sidderbridge Junction, coming towards him on his return from that place. Hall had evidently been "stopping a bit" at Sidderbridge, to judge by his driving. "'Ow do, Teddy?" he said, passing.
"You got a rum un up home!" said Teddy.
Hall very sociably pulled up. "What's that?" he asked.
"Rum-looking customer stopping at the 'Coach and Horses,'" said Teddy. "My sakes!"
And he proceeded to give Hall a vivid description of his grotesque guest. "Looks a bit like a disguise, don't it? I'd like to see a man's face if I had him stopping in _my_ place," said Henfrey. "But women are that trustful--where strangers are concerned. He's took your rooms and he ain't even given a name, Hall."
"You don't say so!" said Hall, who was a man of sluggish apprehension.
"Yes," said Teddy. "By the week. Whatever he is, you can't get rid of him under the week. And he's got a lot of luggage coming to-morrow, so he says. Let's hope it won't be stones in boxes, Hall."
He told Hall how his aunt at Hastings had been swindled by a stranger with empty portmanteaux. Altogether he left Hall vaguely suspicious. "Get up, old girl," said Hall. "I s'pose I must see 'bout this."
Teddy trudged on his way with his mind considerably relieved.
Instead of "seeing 'bout it," however, Hall on his return was severely rated by his wife on the length of time he had spent in Sidderbridge, and his mild inquiries were answered snappishly and in a manner not to the point. But the seed of suspicion Teddy had sown germinated in the mind of Mr. Hall in spite of these discouragements. "You wim' don't know everything," said Mr. Hall, resolved to ascertain more about the personality of his guest at the earliest possible opportunity. And after the stranger had gone to bed, which he did about half-past nine, Mr. Hall went very aggressively into the parlour and looked very hard at his wife's furniture, just to show that the stranger wasn't master there, and scrutinised closely and a little contemptuously a sheet of mathematical computations the stranger had left. When retiring for the night he instructed Mrs. Hall to look very closely at the stranger's luggage when it came next day.
"You mind you own business, Hall," said Mrs. Hall, "and I'll mind mine."
She was all the more inclined to snap at Hall because the stranger was undoubtedly an unusually strange sort of stranger, and she was by no means assured about him in her own mind. In the middle of the night she woke up dreaming of huge white heads like turnips, that came trailing after her, at the end of interminable necks, and with vast black eyes. But being a sensible woman, she subdued her terrors and turned over and went to sleep again.
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A fly by imagination
And life passes so quickly...
Because literature is part of our history.
The main idea of this Blog is spread the habit of reading. Literature is part of our lives. When enter in the Literature world, we read better and we improve our though and imagination. I want, with this, divide a little of my dreams. Is to give opportunity to people read and know about works produced by ancient and contemporary writers, and mainly, myself to be insert in this wonderful world of the Letters.
