Hamilton Stark (20 page)

“How old was she when this was recorded?” C. asked in a flat voice.

“Thirty-one.”

“Not old.”

“No.”

“… twenty when I first met him, about your age, a few years younger, even. Jesus, we were a beautiful couple, I was really thin then, no kidding, I had to be, I was dancing with the June Taylor Dancers on the
Jackie Gleason Show
every week, national TV, and they did a weight check every Thursday night, like they do with boxers, because after all, our bodies were our meal tickets, honey, our livelihoods, and if we put on a pound more than we were allowed, there was a dozen girls standing right behind each one of us ready and able to take our places on a moment’s notice. It was a grind, lots of pressure. Once you stepped out of that line-up, honey, you stayed out. We worked harder than anyone who hasn’t done it can know, new routines that the choreographers more or less made up on the spot and as we went along, practicing seven and eight hours a day right up to the dress rehearsal, which really wasn’t your actual dress rehearsal at all as much as it was just the first time we could do the entire number all together from start to finish, and usually there were half a dozen last-minute changes that we’d have to fit in before Saturday’s show, and then we’d have Sunday off, and then on Monday the whole thing would start over again. The life of a chorus girl isn’t all it’s cracked up to be, honey. We really
were a lot like your professional athletes, like boxers or something. Except that we had the summers off, but not many of us could afford to loaf, or wanted to anyhow, so most of us took summer stock and chorus line jobs in musicals or night-clubs, which is how I met your father. I was in the chorus line, with a singing part, too, at the Lakeside Theater up in Laconia. You know the place probably, it’s pretty famous, over there by the lake, at that place they call the Weirs. Anyhow, your father went to see the show one night, alone, and he picked me out of the chorus line, so he says, and sent me a dozen yellow roses and a note backstage after the show. Believe it or not, it was the first time that had ever happened to me. A stage-door Johnny! Imagine! Me, little Annie Laurie, singled out of the chorus line by a man in the audience! Remember, honey, I was only twenty years old at the time, and sure, I was a big-city girl and he was supposed to be a country rube, but I’d been raised like a flower in a hothouse and he’d been brought up like a piece of moss on a rock, a chunk of lichen or something, so when he tried the old dozen-roses-and-a-note routine, I fell for it. Hook, line and sinker. Also, I was pretty lonely, spending the summer like that in the sticks, away from home for the first time, really, because back in New York I was still living with my Uncle Zack and Aunt Harriet, who had raised me after my mama died. So here I am, backstage in this dingy little barn theater beside the lake, taking off my make-up, and one of the stagehands comes knocking on the dressing room door with a dozen yellow roses and a note for “The Tall Blond Singer in the Chorus Line.” That’s how he’d addressed the card, and since I was the only one in the line with a singing part, one short number, which I had because it was a six-girl line and I was the only one who wasn’t completely tone-deaf, I knew the note was for me. I can still remember pretty well what it
said. It was in that style of his, the way he wrote all his notes or letters or anything. Even the way he talked, most of the time.
Flowers a token of esteem from member of audience. Would you have drink with sender. H. Stark
. The note was typed, you know, with a typewriter, but it’s strange, I didn’t even notice that, or if I did, I certainly, I didn’t think anything about it, you know, like, What’s a member of the audience doing with a typewriter in his lap? I should have, of course. Thought about it, I mean. I guess he must’ve typed the note out at home before he came to the theater and brought it with him, and that’s strange, don’t you think? I mean, it was opening night. He couldn’t have known who he was going to send the flowers and note to until after he’d already got to the theater. The note on the flowers was in handwriting, somebody’s, probably the stagehand’s. I should’ve thought about stuff like that, at the time, I mean. I sure have since then, but a lotta good it’s done me. If I’d thought about it then I would’ve been able to know quite a lot about your father before I even set my eyes on him, but I guess I was too flattered and lonely to notice even. All I cared about was whether or not he was going to be young and handsome, so I asked the stagehand, and he told me sure the guy was young, you know how stagehands talk, and yeah, the guy was handsome. “Okay-looking,” was probably how he said it. “But the guy’s pretty big,” he told me. I remember that clear as a bell. I remember picturing to myself this tall, handsome stranger, as big as John Wayne and handsome as Robert Taylor, so when, when I walked out the stage door and saw your father, I had to pinch myself on the arm to be sure I wasn’t dreaming. He was very gallant, like they say, I mean at first he was. Real old-fashioned, kind of making these little bows when he’d open a door for me, attentive to every detail of the evening, like making sure that when he brought me a corsage, which he did every time we
went out, at least at first, but making sure too that he had on a lapel flower that was the same as was in the corsage. Jesus, what a Romeo he was, that guy! But not one of your Latin lover types. Different. All the time serious as a preacher or something, talking like some kind of weird professor in that flat metallic voice of his about things that usually were pretty interesting, if you listened close, like about the history of Lake Winnepesaukee, which is the lake the theater was located on, or maybe discussing the fine points of the show, pretty well informed on theater, he was too, almost like one of those critics for the
Times
. I was really, I was surprised, up here in the woods like that, and all of a sudden here comes one of the local yokels, and it turns out he has this interest in theater and travel and history, all kinds of stuff, stuff I thought only New Yorkers were interested in. Jesus, honey, what a sucker I was. Twenty years old, getting sweet-talked by some big hunk of country meat. And by the time I let him sweet-talk me into bed with him, I was pretty much in love with him. He wasn’t my “first,” but he
was
the first man I fell in love with, really deep, you know? That was also the first time I saw him drunk, too, but it was too late for me to get out by then, the bastard. He had me hooked, so when he started getting mean and wild and drunk all the time, instead of running away from him, which is of course what I should’ve done toot sweet, I tried to comfort him. You know, to soothe his fevered brow, like they say. Wrong thing to do, honey. Dead wrong. You know, to soothe his fevered brow. All my hand on his brow did was jack up the temperature about ten degrees. Jesus. I’ll never forget his face, the way I saw it then, that first night in the motel with him, like the face of some kind of beast, all the time roaring and shouting stuff that didn’t make any sense at all to me, stuff that didn’t have anything to do with me, although he’d stare right into my
face when he shouted, so naturally I thought at first he was shouting at me, that’s what anyone would’ve thought. It was the most frightening, scary thing I’d ever seen, I thought he was…”

C. was refilling his glass. “Old A. doesn’t seem to’ve been able to hold his liquor, eh?” He smiled tolerantly. “Not really a man’s man.”

“So it would seem,” I said. “But listen, this is interesting here.”

“… until finally he flopped onto the bed and passed out, and afterward, after I was sure he was out cold, I crawled into the bed next to him, but under the covers, he was lying on top of everything, and I tried to sleep, which I guess I eventually did, for a while, anyhow. I woke up, I woke up before he did, and in the early morning light looked at his face. Oh, Jesus, it was like a baby’s face. Peaceful, innocent, curious, good-natured. You know what I mean? Like a baby it was. The exact opposite of what it had been six or seven hours before. I’d never seen such an incredible switch. I wondered if maybe I’d imagined the whole thing, you know? But anyhow, even though I was wondering this, I still expected him to act all hangdog and guilty as hell when he woke up. Naturally. I mean, I was all set to forgive him. I’d even rehearsed a couple of speeches where I forgive him for getting drunk the first night we spend together and we talk awhile about his childhood and he promises never to drink like that again. That’s the sort of thing I figured would happen. No kidding. I never expected him to do like he did. To wake up and just act like nothing had happened. It was something weird, honey. One for the books. He acted like I was an old pal or something, just somebody who happened to be there in the morning after
a night out with the boys shooting pool or bowling or something. He brushed his teeth and shaved and got his clothes back on—one of the last things he’d done before passing out was take off all his clothes and pound on his chest like Tarzan, no, more like a scowling gorilla, the real thing—and then, all the time humming and cleaning up the room, he waited for me while I dressed too. Finally I got up the nerve and I put it to him, I asked him straight out, “What about last night, Ham?” And you know what he did? Get this. He winked at me! Real slow and sexy. Just crunkled up his cheek, smiled a little, and
winked!
Then he pats me on the ass and pushes me gently toward the door, saying as we go out that he’s hungry as a bear. That was the first time your father made me feel I was crazy…”

I reached down and snapped off the recorder. In the sudden silence that followed, I placed another log on the fire and refilled both my and C.’s glasses.

“I don’t… I don’t quite understand,” C. said slowly.

“No?”

“No. There’s something …
peculiar
about her tale.” He held his glass by the stem and twirled it slowly. “There’s a gap between the story she’s telling, all that business about a man she was married to long ago, a man she met over a dozen years ago, for God’s sake, a gap between that story, as data, and the way she’s telling it. She’s in no way still in love with the man, that’s obvious. Not like A.’s first wife. This woman is brighter, more conscious of herself, than the other. Tell me,” he said, peering over the rim of his glass, “is this, this
gap
, what you were so eager for me to hear and speculate on?”

“Well, yes, but there’s more.” I was alarmed that he’d picked up the distance between the content of her story and its formal elements. It meant that for him to be able to
respond intelligently to the tape he would have to know the secrets about Annie Laurie that I had hoped to keep out of this book. Her obesity, already revealed, at least to the reader, was but one of several pieces of information concerning her that I was loath to expose—for several reasons. First, it would make it easier for some readers to identify Annie Laurie’s model, D., if they happened to see her on the streets of Manchester or in one of the local department stores, say, or coming out onto the stoop of her building to get her welfare check from the mailman. And if one of my readers happened to be her mailman—oh, almost too cruel to imagine!

When I began this project I was under the impression that I would be able to keep certain secrets, an impression that increasingly looks false. I wanted my story to seem true-to-life, as it were, which meant to me that a great deal of it had to be redundant. Also, I was aware from the start that Hamilton Stark in many ways could be seen as a grotesque, an exaggeration of a merely neurotic human being, and to ground him sufficiently in everyday life (as well as to justify my view of him as something quite superior to a merely neurotic human being formed and contained by his social circumstances), I felt it necessary to surround him with plain fare, pea soup and porridge people. Not exotics. Not three-hundred-pound ex-tap dancers whose sadly diminished lives are spent reminiscing over a few tattered clippings and an unpleasant night spent years ago in a lakeside motel. I had to go this far, however, to reveal this much: there was no way I could keep it out of Rochelle’s novel, after all, and certainly there was no way I could legitimize my altering the transcripts of her tapes. And as for revealing Annie’s great weight, I could not withhold that fact without misrepresenting Annie’s narrative altogether. What if the reader were to infer, as he naturally would, that Annie was still beautiful, still slender
and long-legged, that her memories and childhood ambitions were not mocked outright by her present physical condition? That reader would have heard something quite different from what I and C. and the rest of us have heard. But … was it sufficient that I reveal only her enormous belly, arms like the legs of a hippo, throat like a tire tube, cheeks and forehead smooth and round as basketballs, hands swollen like sausages? Was that alone sufficient? Well, I hoped my friend C. would tell me. If C. heard nothing odd, nothing that was not mildly moving and interesting, then I would probably not even bother to tell him as much as that the woman he had been listening to was an almost impossibly fat woman. If C. found himself slightly bewildered by the tapes, however, if he detected, as he did, a “gap” between form and content that was not quite comprehensible, then I had decided I would reveal the fact of her obesity. If still he was not relieved and was not permitted comprehension of her testimony, if he was neither moved nor interested by it, however mildly, then … well, then I would probably have to reveal more.

“Would it clear things up for you,” I said to C., “if you knew that the woman is unusually obese? A frighteningly fat woman?”

C. thought for a moment. “You mean like the fat lady at the circus? Freakish?”

“Yes.”

“Well, no. No, not unless
this
makes no sense to you … or to me, of course,” he said, indicating with his diction and fur-rowed brow, pursed lips, index fingertips pressed to chin, that he was about to launch a speculation, a ship of theoretical thought. “We are, all of us, so unsure of what is real and not real, that whenever we encounter a person, especially one of the opposite sex, for some reason, who behaves as if the question of what is real and not real were a simple one to answer,
and further, when that person then proceeds to proffer an answer that completely denies the simple evidence of our senses, we are, all of us, likely to forsake our sense and cleave to the other. Essentially, that’s the role our parents play for us when we are infants and small children. They define what is real and what is not real, and quite often,
usually
, in fact—because as children we don’t understand even the basic physical laws of the universe yet, not even the laws of perspective or of Newtonian physics—quite often what our parents tell us is real denies completely what our senses have indicated is in fact the case. We say, for example, ‘The moon is bigger than the sun.’ It’s obvious to us. But our parents contradict us: ‘The sun is thousands of times bigger than the moon.’ Often they even laugh at us, and they always explain away the contradiction with some piece of nonsense, like, ‘It only appears to be smaller because it is so much farther from us than the moon is.’ So even though we’re presented with a contradiction that is then justified only in terms of nonsense, we nevertheless accept it wholly. At that time, the power of the contradiction seems to depend on two things: the physical size of our parents compared to our own tiny displacement and their self-assurance. ‘Ho, ho,’ they say, ‘the sun is thousands of times bigger than the moon!’ We as children have neither size nor self-assurance.