The Selected Stories of Mavis Gallant (141 page)

Prism says that even before the Pugh Investment Trust filed its bankruptcy petition before a Paris court, the dismantling of Miss Pugh’s house had been completed, with the wainscoting on the staircase stripped and sold to a tearoom and what remained of the silver, pictures, and furniture
brought under the hammer. (Grippes and Rosalia had already removed some of the better pieces, for safety.) Her will was so ambiguous that, to avoid litigation, Miss Pugh’s brother and the Trust split the proceeds, leaving Prism and a few other faithful friends of hers in the cold. Grippes is suspected of having gold ingots under the bed, bullion in the bathtub, gold napoleons in his shoes. The fact is (Grippes can prove it) that Miss Pugh’s personal income had been declining for years, owing to her steadfast belief that travel by steamship would soon supersede the rage for planes. “Her private investments followed her convictions as night follows day,” writes Grippes, with the cats for company. “And, one day, night fell.”

Prism discovered that some of the furniture removed for safety was in the parlor of Rosalia’s son, permanent mayor and Mafia delegate of a town in Sicily. He at once dispatched an expert appraiser, who declared the whole lot to be fake. It may have been that on a pink marble floor, against pink wall hangings, in a room containing a bar on which clockwork figures of Bonaparte and Josephine could be made to play Ping-Pong, Miss Pugh’s effects took on an aura of sham. Still, the expert seemed sincere to Prism. He said the Boulle chest was the kind they still manufacture on the Rue du Faubourg-Saint-Martin, scar with bleach, beat with chains, then spend years restoring.

About a month after the funeral, a letter appeared in
Le Matin de Paris
, signed “Old-Style Socialist.” The writer recalled that some forty years before, a Miss Pugh (correctly spelled) had purchased from an antique dealer a wooden statue said to represent St. Cumula, virgin and martyr. (A brief history of Cumula followed: About to be forced into marriage with a pagan Gaul, Cumula painted herself purple and jumped into the Seine, where she drowned. The pagan, touched by her unwavering detestation of him, accepted Christian baptism, on the site of what is now the Paris Stock Exchange.) Miss Pugh had the effigy restored to its original purple and offered it to the Archbishop of Paris. After several coats of paint were removed, the carving was found to be a likeness of General Marchand, leader of the French Nile Expedition. The Archbishop declined the present, giving as his reason the separation of church and state. “Old-Style Socialist” wondered what had become of the carving, for even if General Marchand stood for nineteenth-century colonial policy at its most offensive, history was history, art was art, and it was easily proved that some persons never ceased to meddle in both.

Prism believes Grippes might have had some talent to begin with but that
he wasted it writing tomfool letters. He thinks a note that came in the mail recently was from Grippes: “Dear Ms. Victoria Prism, I teach Creative Journalism to a trilingual class here in California (Spanish/Chinese/some English). In the past you have written a lot of stuff that was funny and made us laugh. Lately you published something about the lingering death of a helicopter pilot. Is this a new departure? Please limit your answer to 200 words. My class gets tired.” The letter had an American stamp and a Los Angeles postmark, but Prism has known Grippes to spend days over such details.

Grippes says that Prism’s talent is like one of those toy engines made of plastic glass, every part transparent and moving to no purpose. The engine can be plugged in to a power outlet, but it can’t be harnessed. In short, Prism symbolizes the state of English letters since the 1950s.

“You ought to write your memoirs,” Grippes said to Prism at Miss Pugh’s funeral. Prism thought Grippes was hoping to be provided with grounds for a successful libel action. (He concedes that Grippes looked fine that day: dark tie, dark suit, well brushed—he hadn’t begun collecting cats yet.)

Actually, Prism is pretty sure he could fill two volumes, four hundred pages each, dark green covers, nice paper, nice to touch. A title he has in mind is
Bridge Building Between Cultures
.

Grippes started his own memoirs about a year ago, basing them on his diaries. He wouldn’t turn down a Bibliothèque de la Pléiade edition, about a thousand pages of Bible-weight paper, fifty pages of pictures, full Grippes bibliography, appreciative introductory essay by someone he has not quarreled with, frontispiece of Grippes at the window, back to the light, three-quarter profile, cat on his shoulder. He’d need pictures of Miss Pugh: There are none. She loathed sitting for portraits, photographs, snapshots. Old prints of her house exist, their negatives lost or chewed by mice. The Pugh Memorial Committee donated a few to the Museum of Popular Arts and Traditions, where they were immediately filed under “Puget, Pierre, French sculptor.”

“Research might have better luck at the University of Zurich,” writes Grippes, at Miss Pugh’s Louis XVI–period table. “A tireless Swiss team has been on the trail of Miss Pugh for some time now, and a cowed Swiss computer throws up only occasional anarchy, describing Pugh M. M., Pullman G. M., and Pulitzer J. as the same generous American.”

Prism’s quiet collaboration with Zurich, expected to culminate in a top-quality
volume,
Hostess to Fame
, beige linen cover, ended when he understood that he was not going to be paid anything, and that it would be fifteen years before the first word was transferred from tape to paper.

Grippes says he heard one of the tapes:

“Mr. Prism, kindly listen to the name I shall now pronounce. François Mauriac. The thin, sardonic gentleman who put on a bowler hat every morning before proceeding to Mass was François Mauriac. Right?”

“I don’t remember a François.”

“Think. François. Mauriac.”

“I don’t remember a bowler hat.”

At the centennial commemoration, Prism stood on a little dais, dressed in a great amount of tweed and flannel that seemed to have been cut for a much larger man. Grippes suspects that Prism’s clothes are being selected by his widowed sister, who, after years of trying to marry him off to her closest friends, is now hoping to make him seem as unattractive as possible. Imagining Prism’s future—a cottage in Devon, his sister saying, “There was a letter for you, but I can’t remember what I did with it”—he heard Prism declare he was happy to be here, in a place obligingly provided; the firm’s old boardroom, back in the days when Paris was still; the really fine walnut paneling on two of the; about the shortage of chairs, but the Committee had not expected such a large; some doubtless disturbed by an inexplicable smell of moth repellent, but the Committee was in no way; in honor of a great and charitable American, to whom the cultural life of; looking around, he was pleased to see one or two young faces.

With this, Prism stepped down, and had to be reminded he was chairman and principal speaker. He climbed back, and delivered from memory an old lecture of his on Gertrude Stein. He then found and read a letter Miss Pugh had received from the President of the Republic, in 1934, telling her that although she was a woman, and a foreigner, she was surely immortal. Folding the letter, Prism suddenly recalled and described a conversation with Miss Pugh.

“Those of us who believe in art,” Prism had started to say.

Miss Pugh had coughed and said, “I don’t.”

She did not believe in art, only in artists. She had no interest in books, only in their authors. Reading an early poem of Prism’s (it was years since he had written any poetry, he hastened to say), she had been stopped by the description of a certain kind of butterfly, “pale yellow, with a spot like the
Eye of God.” She had sent for her copy of the Larousse dictionary, which Rosalia was using in the kitchen as a weight on sliced cucumbers. Turning to a color plate, Miss Pugh had found the butterfly at once. It turned out to be orange rather than yellow, and heavily spotted with black. Moreover, it was not a European butterfly but an Asian moth. The Larousse must be mistaken. She had shut the dictionary with a slap, blaming its editors for carelessness. If only there had been more women like her, Prism concluded, there would be more people today who knew what they were doing.

Grippes says that, for once, he feels inclined to agree. All the same, he wishes Prism had suppressed the anecdote. Prism knows as well as Grippes does that some things are better left as legends.

T
he project for a three-volume dictionary of literary biography,
Living Authors of the Fourth Republic
, was set afloat in Paris in 1952, with an eleven-man editorial committee in the same lifeboat. The young and promising Henri Grippes, spokesman for a new and impertinent generation, waited on shore for news of mass drownings; so he says now. A few years later, when the working title had to be changed to
Living Authors of the Fifth Republic
, Grippes was invited aboard. In 1964, Grippes announced there were not enough living authors to fill three volumes, and was heaved over the side. Actually, he had just accepted a post as writer-in-residence at a women’s college in California; from the Pacific shore he sent a number of open letters to Paris weeklies, denouncing the dictionary scheme as an attempt to establish a form of literary pecking order. Antielitism was in the air, and Grippes’s views received great prominence. His return to Paris found a new conflict raging: Two volumes were now to be produced, under the brusque and fashionable title
Contemporary Writers, Women and Others
. Grippes at once published a pamphlet revealing that it was a police dodge for feeding women and others into a multinational computer. In the event of invasion, the computer would cough up the names and the authors would be lined up and marched to forced labor in insurance companies. He carried the day, and for a time the idea of any contemporary literary directory was dropped.

Grippes had by then come into a little money, and had bought himself an apartment over a cinema in Montparnasse. He wore a wide felt hat and a velvet jacket in cool weather and a panama straw and a linen coat when it was fine. Instead of a shopping bag he carried a briefcase. He wrote to the mayor of Paris—who answered, calling him “Maître”—to protest a plan to
remove the statue of Balzac from Boulevard Raspail, just north of the Boulevard du Montparnasse intersection. It was true that the statue was hemmed in by cars illegally parked and that it was defiled by pigeons, but Grippes was used to seeing it there. He also deplored that the clock on the corner near the Dôme no longer kept time; Grippes meant by this that it did not keep the same time as his watch, which he often forgot to wind.

In the meantime the old two-volume project, with its aging and dwindled editorial committee and its cargo of card-index files, had floated toward a reliable firm that published old-fashioned history manuals with plenty of color plates, and geography books that drew attention only to territories that were not under dispute. The Ministry of Culture was thought to be behind the venture. The files, no one quite knew how, were pried away from the committee and confided to a professor of English literature at a provincial university. The
Angliciste
would be unlikely to favor one school of French writing over another, for the simple reason that he did not know one from the other. The original committee had known a great deal, which was why for some thirty years its members had been in continual deadlock.

It seemed to the
Angliciste
that the work would have wider appeal if a section was included on British writers known for their slavish cultural allegiance to France. First on the list was, of course, Victor Prism, lifelong and distinguished Francophile and an old academic acquaintance. He recalled that Prism had once lived in Paris as the protégé of Miss Mary Margaret Pugh, a patroness of the arts; so, at about the same time, had the future novelist and critic Henri Grippes. “Two golden lion cubs in the golden cage of the great lioness,” as the
Angliciste
wrote Grippes, asking him to contribute a concise appreciation of his comrade in early youth. “Just say what seemed to you to be prophetic of his achievement. We are in a great hurry. The work is now called
French Authors, 1950–2000
, and we must go to press by 1990 if it is to have any meaning for our time. Don’t trouble about Prism’s career; the facts are on record. Payment upon receipt of contribution, alas. The ministry is being firm.”

Grippes received the letter a week before Christmas. He thought of sending Prism a sixteen-page questionnaire but decided, reasonably, that it might dull the effect of surprise. He set to work, and by dint of constant application completed his memoir the following Easter. It was handwritten, of course; even his sojourn in California had not reconciled Grippes to typewriters. “I feel certain this is what you are after,” he wrote the
Angliciste
. “A portrait of Prism as protégé. It was an experience that changed his external
image. Miss Pugh often said he had arrived on her doorstep looking as if he had spent his life in the rain waiting for a London bus. By the time he left, a few weeks later, a wholehearted commitment to the popular Parisian idols of the period—Sartre, Camus, and Charles Trenet—caused him to wear a little gray hat with turned-up brim, a black shirt, an off-white tie, and voluminous trousers. At his request, Miss Pugh gave him a farewell present of crêpe-soled shoes. Perhaps, with luck, you may find a picture of him so attired.”