Collected Stories of Carson McCullers (34 page)

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During the four years in which the store became a café the rooms upstairs were not changed. This part of the premises remained exactly as it had been all of Miss Amelia's life, as it was in the time of her father, and most likely his father before him. The three rooms, it is already known, were immaculately clean. The smallest object had its exact place, and everything was wiped and dusted by Jeff, the servant of Miss Amelia, each morning. The front room belonged to Cousin Lymon—it was the room where Marvin Macy had stayed during the few nights he was allowed on the premises, and before that it was the bedroom of Miss Amelia's father. The room was furnished with a large chifforobe, a bureau covered with a stiff white linen cloth crocheted at the edges, and a marble-topped table. The bed was immense, an old fourposter made of carved, dark rosewood. On it were two feather mattresses, bolsters, and a number of handmade comforts. The bed was so high that beneath it were two wooden steps—no occupant had ever used these steps before, but Cousin Lymon drew them out each night and walked up in state. Beside the steps, but pushed modestly out of view, there was a china chamberpot painted with pink roses. No rug covered the dark, polished floor and the curtains were of some white stuff, also crocheted at the edges.

On the other side of the parlor was Miss Amelia's bedroom, and it was smaller and very simple. The bed was narrow and made of pine. There was a bureau for her breeches, shirts, and Sunday dress, and she had hammered two nails in the closet wall on which to hang her swamp boots. There were no curtains, rugs, or ornaments of any kind.

The large middle room, the parlor, was elaborate. The rosewood sofa, upholstered in threadbare green silk, was before the fireplace. Marble-topped tables, two Singer sewing machines, a big vase of pampas grass—everything was rich and grand. The most important piece of furniture in the parlor was a big, glass-doored cabinet in which was kept a number of treasures and curios. Miss Amelia had added two objects to this collection—one was a large acorn from a water oak, the other a little velvet box holding two small, grayish stones. Sometimes when she had nothing much to do, Miss Amelia would take out this velvet box and stand by the window with the stones in the palm of her hand, looking down at them with a mixture of fascination, dubious respect, and fear. They were the kidney stones of Miss Amelia herself, and had been taken from her by the doctor
in Cheehaw some years ago. It had been a terrible experience, from the first minute to the last, and all she had got out of it were those two little stones; she was bound to set great store by them, or else admit to a mighty sorry bargain. So she kept them and in the second year of Cousin Lymon's stay with her she had them set as ornaments in a watch chain which she gave to him. The other object she had added to the collection, the large acorn, was precious to her—but when she looked at it her face was always saddened and perplexed.

"Amelia, what does it signify?" Cousin Lymon asked her.

"Why, it's just an acorn," she answered. "Just an acorn I picked up on the afternoon Big Papa died."

"How do you mean?" Cousin Lymon insisted.

"I mean it's just an acorn I spied on the ground that day. I picked it up and put it in my pocket. But I don't know why."

"What a peculiar reason to keep it," Cousin Lymon said.

The talks of Miss Amelia and Cousin Lymon in the rooms upstairs, usually in the first few hours of the morning when the hunchback could not sleep, were many. As a rule, Miss Amelia was a silent woman, not letting her tongue run wild on any subject that happened to pop into her head. There were certain topics of conversation, however, in which she took pleasure. All these subjects had one point in common—they were interminable. She liked to contemplate problems which could be worked over for decades and still remain insoluble. Cousin Lymon, on the other hand, enjoyed talking on any subject whatsoever, as he was a great chatterer. Their approach to any conversation was altogether different. Miss Amelia always kept to the broad, rambling generalities of the matter, going on endlessly in a low, thoughtful voice and getting nowhere—while Cousin Lymon would interrupt her suddenly to pick up, magpie fashion, some detail which, even if unimportant, was at least concrete and bearing on some practical facet close at hand. Some of the favorite subjects of Miss Amelia were: the stars, the reason why Negroes are black, the best treatment for cancer, and so forth. Her father was also an interminable subject which was dear to her.

"Why, Law," she would say to Lymon. "Those days I slept. I'd go to bed just as the lamp was turned on and sleep—why, I'd sleep like I was drowned in warm axle grease. Then come daybreak Big Papa would walk in and put his hand down on my shoulder. 'Get
stirring, Little,' he would say. Then later he would holler up the stairs from the kitchen when the stove was hot. 'Fried grits,' he would holler. 'White meat and gravy. Ham and eggs.' And I'd run down the stairs and dress by the hot stove while he was out washing at the pump. Then off we'd go to the still or maybe—"

"The grits we had this morning was poor," Cousin Lymon said. "Fried too quick so that the inside never heated."

"And when Big Papa would run off the liquor in those days—" The conversation would go on endlessly, with Miss Amelia's long legs stretched out before the hearth; for winter or summer there was always a fire in the grate, as Lymon was cold-natured. He sat in a low chair across from her, his feet not quite touching the floor and his torso usually well-wrapped in a blanket or the green wool shawl. Miss Amelia never mentioned her father to anyone else except Cousin Lymon.

That was one of the ways in which she showed her love for him. He had her confidence in the most delicate and vital matters. He alone knew where she kept the chart that showed where certain barrels of whisky were buried on a piece of property near-by. He alone had access to her bankbook and the key to the cabinet of curios. He took money from the cash register, whole handfuls of it, and appreciated the loud jingle it made inside his pockets. He owned almost everything on the premises, for when he was cross Miss Amelia would prowl about and find him some present—so that now there was hardly anything left close at hand to give him. The only part of her life that she did not want Cousin Lymon to share with her was the memory of her ten-day marriage. Marvin Macy was the one subject that was never, at any time, discussed between the two of them.

So let the slow years pass and come to a Saturday evening six years after the time when Cousin Lymon came first to the town. It was August and the sky had burned above the town like a sheet of flame all day. Now the green twilight was near and there was a feeling of repose. The street was coated an inch deep with dry golden dust and the little children ran about half-naked, sneezed often, sweated, and were fretful. The mill had closed down at noon. People in the houses along the main street sat resting on their steps and the women had palmetto fans. At Miss Amelia's there was a sign at the front of the
premises saying
CAFÉ
. The back porch was cool with latticed shadows and there Cousin Lymon sat turning the ice-cream freezer—often he unpacked the salt and ice and removed the dasher to lick a bit and see how the work was coming on. Jeff cooked in the kitchen. Early that morning Miss Amelia had put a notice on the wall of the front porch reading: Chicken Dinner—Twenty Cents Tonite. The café was already open and Miss Amelia had just finished a period of work in her office. All the eight tables were occupied and from the mechanical piano came a jingling tune.

In a corner, near the door and sitting at a table with a child, was Henry Macy. He was drinking a glass of liquor, which was unusual for him, as liquor went easily to his head and made him cry or sing. His face was very pale and his left eye worked constantly in a nervous tic, as it was apt to do when he was agitated. He had come into the café sidewise and silent, and when he was greeted he did not speak. The child next to him belonged to Horace Wells, and he had been left at Miss Amelia's that morning to be doctored.

Miss Amelia came out from her office in good spirits. She attended to a few details in the kitchen and entered the café with the pope's nose of a hen between her fingers, as that was her favorite piece. She looked about the room, saw that in general all was well, and went over to the corner table by Henry Macy. She turned the chair around and sat straddling the back, as she only wanted to pass the time of day and was not yet ready for her supper. There was a bottle of Kroup Kure in the hip pocket of her overalls—a medicine made from whisky, rock candy, and a secret ingredient. Miss Amelia uncorked the bottle and put it to the mouth of the child. Then she turned to Henry Macy and, seeing the nervous winking of his left eye, she asked:

"What ails you?"

Henry Macy seemed on the point of saying something difficult, but, after a long look into the eyes of Miss Amelia, he swallowed and did not speak.

So Miss Amelia returned to her patient. Only the child's head showed above the table top. His face was very red, with the eyelids half-closed and the mouth partly open. He had a large, hard, swollen boil on his thigh, and had been brought to Miss Amelia so that it could be opened. But Miss Amelia used a special method with children; she did not like to see them hurt, struggling, and terrified. So
she had kept the child around the premises all day, giving him licorice and frequent doses of the Kroup Kure, and toward evening she tied a napkin around his neck and let him cat his fill of the dinner. Now as he sat at the table his head wobbled slowly from side to side and sometimes as he breathed there came from him a little worn-out grunt.

There was a stir in the café and Miss Amelia looked around quickly. Cousin Lymon had come in. The hunchback strutted into the café as he did every night, and when he reached the exact center of the room he stopped short and looked shrewdly around him, summing up the people and making a quick pattern of the emotional material at hand that night. The hunchback was a great mischief-maker. He enjoyed any kind of to-do, and without saying a word he could set people at each other in a way that was miraculous. It was due to him that the Rainey twins had quarreled over a jackknife two years past, and had not spoken one word to each other since. He was present at the big fight between Rip Wellborn and Robert Calvert Hale, and every other fight for that matter since he had come into the town. He nosed around everywhere, knew the intimate business of everybody, and trespassed every waking hour. Yet, queerly enough, in spite of this it was the hunchback who was most responsible for the great popularity of the café. Things were never so gay as when he was around. When he walked into the room there was always a quick feeling of tension, because with this busybody about there was never any telling what might descend on you, or what might suddenly be brought to happen in the room. People are never so free with themselves and so recklessly glad as when there is some possibility of commotion or calamity ahead. So when the hunchback marched into the café everyone looked around at him and there was a quick outburst of talking and a drawing of corks.

Lymon waved his hand to Stumpy MacPhail who was sitting with Merlie Ryan and Henry Ford Crimp. "I walked to Rotten Lake today to fish," he said. "And on the way I stepped over what appeared at first to be a fallen tree. But then as I stepped over I felt something stir and I taken this second look and there I was straddling this here alligator long as from the front door to the kitchen and thicker than a hog."

The hunchback chattered on. Everyone looked at him from time to time, and some kept track of his chattering and others did not.
There were times when every word he said was nothing but lying and bragging. Nothing he said tonight was true. He had lain in bed with a summer quinsy all day long, and had only got up in the late afternoon in order to turn the ice-cream freezer. Everybody knew this, yet he stood there in the middle of the café and held forth with such lies and boasting that it was enough to shrivel the ears.

Miss Amelia watched him with her hands in her pockets and her head turned to one side. There was a softness about her gray, queer eyes and she was smiling gently to herself. Occasionally she glanced from the hunchback to the other people in the café—and then her look was proud, and there was in it the hint of a threat, as though daring anyone to try to hold him to account for all his foolery. Jeff was bringing in the suppers, already served on the plates, and the new electric fans in the café made a pleasant stir of coolness in the air.

"The little youngun is asleep," said Henry Macy finally.

Miss Amelia looked down at the patient beside her, and composed her face for the matter in hand. The child's chin was resting on the table edge and a trickle of spit or Kroup Kure had bubbled from the corner of his mouth. His eyes were quite closed, and a little family of gnats had clustered peacefully in the corners. Miss Amelia put her hand on his head and shook it roughly, but the patient did not awake. So Miss Amelia lifted the child from the table, being careful not to touch the sore part of his leg, and went into the office. Henry Macy followed after her and they closed the office door.

Cousin Lymon was bored that evening. There was not much going on, and in spite of the heat the customers in the café were good-humored. Henry Ford Crimp and Horace Wells sat at the middle table with their arms around each other, sniggering over some long joke—but when he approached them he could make nothing of it as he had missed the beginning of the story. The moonlight brightened the dusty road, and the dwarfed peach trees were black and motionless: there was no breeze. The drowsy buzz of swamp mosquitoes was like an echo of the silent night. The town seemed dark, except far down the road to the right there was the flicker of a lamp. Somewhere in the darkness a woman sang in a high wild voice and the tune had no start and no finish and was made up of only three notes which went on and on and on. The hunchback stood leaning
against the banister of the porch, looking down the empty road as though hoping that someone would come along.