The Gift (28 page)

Once, when he had noticed some written-up sheets of paper on Fyodor’s desk, he said, adopting a new heartfelt tone of voice: “Ah, if only I had a tick or two, what a novel I’d whip off! From real life. Imagine this kind of thing: an old dog—but still in his prime, fiery, thirsting for happiness—gets to know a widow, and she has a daughter, still quite a little girl—you know what I mean—when nothing is formed yet but already she has a way of walking that drives you out of your mind—A slip of a girl, very fair, pale, with blue under the eyes—and of course she doesn’t even look at the old goat. What to do? Well, not long thinking, he ups and marries the widow. Okay. They settle down the three of them. Here you can go on indefinitely—the temptation, the eternal torment, the itch, the mad hopes. And the upshot—a miscalculation. Time flies, he gets older, she blossoms out—and not a sausage. Just walks by and scorches you with a look of contempt. Eh? D’you feel here a kind of Dostoevskian tragedy? That story, you see, happened to a great friend of mine, once upon a time in fairyland
when Old King Cole was a merry old soul,” and Boris Ivanovich, turning his dark eyes away, pursed his lips and emitted a melancholy, bursting sound.

“My better half,” he said on another occasion, “was for twenty years the wife of a kike and got mixed up with a whole rabble of Jew in-laws. I had to expend quite a bit of effort to get rid of that stink. Zina [he alternately called his stepdaughter either this or Aïda, depending on his mood], thank God, doesn’t have anything specific—you should see her cousin, one of these fat little brunettes, you know, with a fuzzy upperlip. In fact, it has occurred to me that my Marianna, when she was Madam Mertz, might have had other interests—one can’t help being drawn to one’s own people, you know. Let her tell you herself how she suffocated in that atmosphere, what relatives she acquired—oh, my Gott—all gabbling at table and she pouring out the tea. And to think that her mother was a lady-in-waiting of the Empress and that she herself had gone to the Smolny School for young ladies—and then she went and married a yid—to this very day she can’t explain how it happened: he was rich, she says, and she was stupid, they met in Nice, she eloped to Rome with him—in the open air, you know, it all looked different—well, but when afterwards the little clan closed upon her, she saw she was stuck.”

Zina told it quite differently. In her version the image of her father took on something of Proust’s Swann. His marriage to her mother and their subsequent life were tinted with a romantic haze. Judging by her words and judging also by the photographs of him, he had been a refined, noble, intelligent and kindly man—even in these stiff St. Petersburg cabinet pictures with a gold stamped signature on the thick cardboard, which she showed Fyodor at night under a streetlamp, the old-fashioned luxuriance of his blond mustache and the height of his collars did nothing to spoil his delicate features and direct, laughing gaze. She told him about his scented handkerchief, and his passion for trotting races and music, and that time in his youth when he had routed a visiting grand master of chess, and the way he recited Homer by heart: in talking of him she selected things that might touch Fyodor’s imagination, since it seemed to her she detected something sluggish
and bored in his reaction to her reminiscences of her father, that is to the most precious thing she had to show him. He himself noticed this strangely delayed responsiveness of his. Zina had one quality which embarrassed him: her home life had developed in her a morbidly acute pride, so that even when talking to Fyodor she referred to her race with challenging emphasis, as if stressing the fact that she took for granted (a fact which its stressing denied) that he regarded Jews, not only without the hostility present to a greater or lesser degree in the majority of Russians, but did so without the chilly smile of forced goodwill. In the beginning she drew these strings so taut that he, who in general did not give a damn about the classification of people according to race, or racial interrelations, began to feel a bit awkward for her, and on the other hand, under the influence of her burning, watchful pride, he became aware of a kind of personal shame for listening silently to Shchyogolev’s loathesome rot and to his trick of garbling Russian, in imitation of a farcical Jewish accent as when he said, for instance, to a wet guest who had left traces on the carpet: “Oy, vat a mudnik!”

For a certain time after her father’s death their former friends and relatives from his side had automatically continued to visit her mother and her; but little by little they thinned out and fell away, and only one old couple for a long time continued to come, feeling sorry for Marianna Nikolavna, feeling sorry for the past and trying to ignore Shchyogolev’s retreating to his bedroom with a cup of tea and a newspaper. But Zina had continued to preserve her connection with the world her mother had betrayed, and on visits to these former family friends she changed extraordinarily, grew softer and kinder (she herself remarked upon this), as she sat at the tea table among the quiet conversations of old people about illnesses, weddings and Russian literature.

At home she was unhappy and this unhappiness she despised. She also despised her work, even though her boss was a Jew—however, a German Jew, i.e., first of all a German, so that she had no qualms about abusing him in Fyodor’s presence. So vividly, so bitterly and with such revulsion did she tell him about that lawyer’s office, where she had already been working for two years, that he
saw and smelled everything as if he himself were there every day. The atmosphere of her office reminded him somehow of Dickens (in a German paraphrase, it is true)—a semi-insane world of gloomy lean men and repulsive chubby ones, subterfuge, black shadows, nightmare snouts, dust, stench and women’s tears. It began with a dark, steep, incredibly dilapidated staircase which was fully matched by the sinister decrepitude of the office premises, a state of affairs not true only of the chief barrister’s office with its overstuffed armchairs and giant glass-topped-table furnishings. The main office, large, plain, with bare, shuddering windows, was choked with an accumulation of dirty, dusty furniture—especially dreadful was the sofa, of a dull purple color with protruding springs, a horrible, obscene object dumped here after gradually passing through the offices of all three directors—Traum, Baum and Käsebier. The innumerable shelves blocking every inch of wall were crammed with grim blue folders that stuck out their long labels, along which from time to time crawled a hungry, litigious bedbug. By the windows worked four typists: one was a hunchback who spent her salary on clothes; the second was a slender, flighty little thing whose father, a butcher, had been killed with a meat hook by his hot-tempered son; the third was a defenseless young girl who was slowly collecting a trousseau, and the fourth was a married woman, a buxom blonde, whose soul was little more than a replica of her apartment and who recounted movingly how after a day of
SPIRITUAL LABOR
she felt such a thirst for the relaxation of physical work that upon coming home she would throw open all the windows and joyously set about the washing. The office manager, Hamekke (a fat, coarse animal with smelly feet and a perpetually oozing furuncle on the nape, who liked to recall how in his sergeant days he had made clumsy recruits clean the barrack-room floor with toothbrushes), used to persecute the latter two with particular pleasure—one because the loss of her job for her would have meant not getting married, the other because she forthwith began to cry—those abundant, noisy tears which were so easy to provoke afforded him wholesome pleasure. Hardly literate, but gifted with an iron grip, immediately able to grasp the most unsavory aspect of any case, he was highly prized
by his employers, Traum, Baum and Käsebier (a complete German idyll, with little tables amid the greenery and a wonderful view). Baum was rarely to be seen; the office maidens found that he dressed marvelously, and in truth his suit was as rigid as on a marble statue, with everlastingly creased pants and a white collar attached to a colored shirt. Käsebier cringed before his prosperous clients (for that matter all three of them cringed), but when he grew angry with Zina he accused her of putting on airs. The boss, Traum, was a shortish man with hair distributed in such a way as to conceal his bald spot, with a profile like the outside of a half-moon, tiny hands and a shapeless body, more wide than it was fat. He loved himself with a passionate and completely reciprocated love, was married to a rich, elderly widow, and having something of the actor in his nature, strove to do everything in style, spending thousands for show and haggling with his secretary over a nickel; he demanded of his employees that they refer to his wife as
“die gnädige Frau”
(“the missus telephoned,” “the missus left a message”) and plumed himself on a sublime ignorance of what went on at the office, although in fact he knew everything through Hamekke, right down to the last blot. In his capacity as one of the legal consultants to the French Embassy he often traveled to Paris, and since his outstanding characteristic was a tremendously smooth effrontery in the pursual of advantages, he energetically struck up useful acquaintances while there, shamelessly asking for recommendations, badgering, foisting himself upon people without feeling the snubs—his skin was like the armor on a peba. In order to gain popularity in France he wrote little books in German on French themes
(Three Portraits
for example—the Empress Eugénie, Briand and Sarah Bernhardt), and in the course of their preparation, the collecting of materials turned into the collecting of connections. These hastily compiled works, in the terrible
style moderne
of the German republic (and essentially yielding little to the works of Ludwig and the Zweigs), were dictated by him to his secretary between business, when he suddenly feigned a flow of inspiration, which flow, incidentally, always coincided with a stretch of leisure time. Some French professor into whose friendship he had insinuated himself once answered a most
tender epistle of his with (for a Frenchman) extremely blunt criticism: “You write the name Deschanel at times with an
accent aigu
and at others without it. Since a certain uniformity is necessary here it would be good if you were to take a firm decision as to which system you wish to adhere to, and then stick to it. If for any reason you should desire to write this name correctly, then write it without an
accent.”
Traum at once responded with a rapturously grateful letter, continuing at the same time to ask for favors. Oh, how well he could round out and sweeten his letters, what Teutonic warblings and whistlings there were in the endless modulation of his openings and conclusions, what courtesies:
“Vous avez bien voulu bien vouloir.…”

His secretary, Dora Wittgenstein, who had worked for him for fourteen years, shared a small musty office with Zina. This aging woman with bags under her eyes, smelling of carrion through her cheap eau de cologne, who worked for any number of hours and who had dried up in the service of Traum, resembled an unfortunate, worn-out horse whose whole muscular system had been displaced, leaving only a few iron tendons. She was little educated, organized her life according to two or three generally accepted concepts and in her dealings with French was guided by certain private rules of her own. When Traum was writing his periodic “book” he would call her to his house on Sundays, haggle over her payment and keep her for extra time; and sometimes she would proudly inform Zina that his chauffeur had driven her home—or at least as far as the tram stop.

Zina had to work not only at translations but also, as did all the other typists, at copying out the long applications presented at court. Frequently she also had to take down in shorthand, in the presence of a client, the circumstances of his case, very often dealing with divorce. These cases were all fairly sordid—lumps of all sorts of muck and stupidity stuck together. A person from Kottbus, divorcing a wife who, according to him, was abnormal, accused her of consorting with a great Dane; the chief witness was the janitress, who through the door had allegedly heard the wife talking to the hound and expressing delight concerning certain details of its organism.

“To you it’s only funny,” said Zina crossly, “but honestly I can’t go on, I can’t, and I would abandon all this scum right away if I didn’t know that another office would have the same scum, or worse. This worn-out feeling in the evening is something phenomenal, it baffles any description. What am I good for now? My spine aches so much from that typewriter that I feel like howling. And the main thing is that this will never end, because if it came to an end there’d be nothing to eat—Mother can’t do anything, she can’t even work as a cook because she’d only sob in her employer’s kitchen and break the dishes, and her filthy husband only knows how to go bankrupt—in my opinion he was already bankrupt when he was born. You’ve no idea how I hate him, he’s a swine, a swine, a swine.…”

“One could make ham out of him” said Fyodor. “I also had a fairly hard day. I wanted to write a poem for you, but somehow it hasn’t quite cleared up yet.”

“My darling, my joy,” she exclaimed, “can all this be true—this fence and that blurry star? When I was little I didn’t like drawing anything that didn’t finish, so I didn’t draw fences because they don’t finish on paper; you can’t imagine a fence that finishes, but I always did something complete, a pyramid, or a house on a hill.”

“And I liked horizons most of all, and diminishing dashes beneath it—to represent the wake of the sun setting beyond the sea. And the greatest childhood torment of all was an unsharpened or broken crayon pencil.”

“But then the sharpened ones.… Do you remember the white one? Always the longest—not like the red and blue ones—because it didn’t do much work, do you remember?”

“But how much it wanted to please! The drama of the albino.
L’inutile beauté
. Anyhow, later I let it have its fill. Precisely because it drew the invisible and one could imagine lots of things. In general there await us unlimited possibilities. Only no angels, or if there must be an angel, then with a huge chest cavity, and wings like a hybrid between a bird of paradise and a condor, and talons to carry the young soul away—not ‘embraced’ as Lermontov has it.”