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  Within half a block of the bus depot she remembered that the bus had not taken her there that morning. The depot was being torn down and rebuilt—there was a temporary depot several blocks away. She had not paid quite enough attention to which street it was on—York Street, east of the real depot, or King? At any rate, she had to detour, because both of these streets were being torn up, and she had almost decided she was lost when she realized she had been lucky enough to come upon the temporary depot by the back way. It was an old house—one of those tall yellow-gray brick houses dating from the time when this was a residential district. This was probably the last use it would be put to before being torn down. Houses all around it must have been torn down to make the large gravelled lot where the buses pulled in. There were still some trees at the edge of the lot and under them a few rows of chairs that she had not noticed when she got off the bus before noon. Two men were sitting on what used to be the veranda of the house, on old car seats. They wore brown shirts with the bus company's insignia but they seemed to be halfhearted about their work, not getting up when she asked if the bus to Carstairs was leaving at six o'clock as scheduled and where could she get a soft drink?

  Six o'clock, far as they knew.

  Coffee shop down the street.

  Cooler inside but only Coke and orange left.

  She got herself a Coca-Cola out of the cooler in a dirty little indoor waiting room that smelled of a bad toilet. Moving the depot to this dilapidated house must have thrown everyone into a state of indolence and fecklessness. There was a fan in the room they used as an office, and she saw, as she went by, some papers blow off the desk. "Oh, shit," said the office girl, and stamped her heel on them.

  The chairs set up in the shade of the dusty city trees were straight-backed old wooden chairs originally painted different colors—they looked as if they had come from various kitchens. Strips of old carpet and rubber bathroom mats were laid down in front of them, to keep your feet off the gravel. Behind the first row of chairs she thought she saw a sheep lying on the ground, but it turned into a dirty-white dog, which trotted over and looked at her for a moment in a grave semi-official way—gave a brief sniff at her shoes, and trotted away.

  She had not noticed if there were any drinking straws and did not feel like going back to look. She drank Coke from the bottle, tilting back her head and closing her eyes.

  When she opened them, a man was sitting one chair away, and was speaking to her.

  "I got here as soon as I could," he said. "Nancy said you were going to catch a bus. As soon as I finished with the speech, I took off. But the bus depot is all torn up."

  "Temporarily," she said.

  "I knew you right away," he said. "In spite of—well, many years. When I saw you, I was talking to somebody. Then I looked again and you'd disappeared."

  "I don't recognize you," said Louisa.

  "Well, no," he said. "I guess not. Of course. You wouldn't."

  He was wearing tan slacks, a pale-yellow short-sleeved shirt, a cream-and-yellow ascot scarf. A bit of a dandy, for a union man. His hair was white but thick and wavy, the sort of springy hair that goes in ripples, up and back from the forehead, his skin was flushed and his face was deeply wrinkled from the efforts of speechmaking—and from talking to people privately, she supposed, with much of the fervor and persuasiveness of his public speeches. He wore tinted glasses, which he took off now, as if willing that she should see him better. His eyes were a light blue, slightly bloodshot and apprehensive. A good-looking man, still trim except for a little authoritative bulge over the belt, but she did not find these serviceable good looks—the careful sporty clothes, the display of ripply hair, the effective expressions—very attractive. She preferred the kind of looks Arthur had. The restraint, the dark-suited dignity that some people could call pompous, that seemed to her admirable and innocent.

  "I always meant to break the ice," he said. "I meant to speak to you. I should have gone in and said goodbye at least.

  The opportunity to leave came up so suddenly."

  Louisa did not have any idea what to say to this. He sighed.

  He said, "You must have been mad at me. Are you still?"

  "No," she said, and fell back, ridiculously, on the usual courtesies. "How is Grace? How is your daughter? Lillian?"

  "Grace is not so well. She had some arthritis. Her weight doesn't help it. Lillian is all right. She's married but she still teaches high school. Mathematics. Not too usual for a woman."

  How could Louisa begin to correct him? Could she say, No, your wife Grace got married again during the war, she married a farmer, a widower. Before that she used to come in and clean our house once a week. Mrs. Feare had got too old.

  And Lillian never finished high school, how could she be a high-school teacher? She married young, she had some children, she works in the drugstore. She had your height and your hair, dyed blond. I often looked at her and thought she must be like you. When she was growing up, I used to give her my stepdaughter's outgrown clothes.

  Instead of this, she said, "Then the woman in the green dress—that was not Lillian?"

  "Nancy? Oh, no! Nancy is my guardian angel. She keeps track of where I'm going, and when, and have I got my speech, and what I drink and eat and have I taken my pills.

  I tend toward high blood pressure. Nothing too serious. But my way of life's no good. I'm on the go constantly. Tonight I've got to fly out of here to Ottawa, tomorrow I've got a tough meeting, tomorrow night I've got some fool banquet."

  Louisa felt it necessary to say, "You knew that I got married? I married Arthur Doud."

  She thought he showed some surprise. But he said, "Yes, I heard that. Yes."

  "We worked hard, too," said Louisa sturdily. "Arthur died six years ago. We kept the factory going all through the thirties even though at times we were down to three men. We had no money for repairs and I remember cutting up the office awnings so that Arthur could carry them up on a ladder and patch the roof. We tried making everything we could think of.

  Even outdoor bowling alleys for those amusement places.

  Then the war came and we couldn't keep up. We could sell all the pianos we could make but also we were making radar cases for the Navy. I stayed in the office all through."

  "It must have been a change," he said, in what seemed a tactful voice. "A change from the Library."

  "Work is work," she said. "I still work. My stepdaughter Bea is divorced, she keeps house for me after a fashion. My son has finally finished university—he is supposed to be learning about the business, but he has some excuse to go off in the middle of every afternoon. When I come home at suppertime, I am so tired I could drop, and I hear the ice tinkling in their glasses and them laughing behind the hedge. Oh, Mud, they say when they see me, Oh, poor Mud, sit down here, get her a drink! They call me Mud because that was my son's name for me when he was a baby. But they are neither of them babies now. The house is cool when I come home—it's a lovely house if you remember, built in three tiers like a wedding cake.

  Mosaic tiles in the entrance hall. But I am always thinking about the factory, that is what fills my mind. What should we do to stay afloat? There are only five factories in Canada making pianos now, and three of them are in Quebec with the low cost of labor. No doubt you know all about that. When I talk to Arthur in my head, it is always about the same thing. I am very close to him still but it is hardly in a mystical way. You would think as you get older your mind would fill up with what they call the spiritual side of things, but mine just seems to get more and more practical, trying to get something settled.

  What a thing to talk to a dead man about."

  She stopped, she was embarrassed. But she was not sure that he had listened to all of this, and in fact she was not sure that she had said all of it.

  "What started me off — " he said. "What got me going in the first place, with whatever I have managed to do, was the Library. So I owe you a great deal."

  He put his hands on his kne
es, let his head fall.

  "Ah, rubbish," he said.

  He groaned, and ended up with a laugh.

  "My father," he said, "You wouldn't remember my father?"

  "Oh, yes."

  "Well. Sometimes I think he had the right idea."

  Then he lifted his head, gave it a shake, and made a pronouncement.

  "Love never dies."

  She felt impatient to the point of taking offense. This is what all the speechmaking turns you into, she thought, a person who can say things like that. Love dies all the time, or at any rate it becomes distracted, overlaid—it might as well be dead.

  "Arthur used to come and sit in the Library," she said. "In the beginning I was very provoked with him. I used to look at the back of his neck and think, Ha, what if something should hit you there! None of that would make sense to you.

  It wouldn't make sense. And it turned out to be something else I wanted entirely. I wanted to marry him and get into a normal life.

  "A normal life," she repeated—and a giddiness seemed to be taking over, a widespread forgiveness of folly, alerting the skin of her spotty hand, her dry thick fingers that lay not far 49

  from his, on the seat of the chair between them. An amorous flare-up of the cells, of old intentions. Oh, never dies.

  Across the gravelled yard came a group of oddly dressed folk. They moved all together, a clump of black. The women did not show their hair—they had black shawls or bonnets covering their heads. The men wore broad hats and black braces. The children were dressed just like their elders, even to the bonnets and hats. How hot they all looked in those clothes—how hot and dusty and wary and shy.

  "The Tolpuddle Martyrs," he said, in a faintly joking, resigned, and compassionate voice. "Ah, I guess I'd better go over. I'd better go over there and have a word with them."

  That edge of a joke, the uneasy kindness, made her think of somebody else. Who was it? When she saw the breadth of his shoulders from behind, and the broad flat buttocks, she knew who.

  Jim Frarey.

  Oh, what kind of a trick was being played on her, or what kind of trick was she playing on herself! She would not have it. She pulled herself up tightly, she saw all those black clothes melt into a puddle. She was dizzy and humiliated. She would not have it.

  But not all black, now that they were getting closer. She could see dark blue, those were the men's shirts, and dark blue and purple in some of the women's dresses. She could see faces—the men's behind beards, the women's in their deep-brimmed bonnets. And now she knew who they were. They were Mennonites.

  Mennonites were living in this part of the country, where they never used to be. There were some of them around Bondi, a village north of Carstairs. They would be going home on the same bus as she was.

  He was not with them, or anywhere in sight.

  A traitor, helplessly. A traveller.

  Once she knew that they were Mennonites and not some lost unidentifiable strangers, these people did not look so shy or dejected. In fact they seemed quite cheerful, passing around a bag of candy, adults eating candy with the children. They settled on the chairs all around her.

  No wonder she was feeling clammy. She had gone under a wave, which nobody else had noticed. You could say anything you liked about what had happened—but what it amounted to was going under a wave. She had gone under and through it and was left with a cold sheen on her skin, a beating in her ears, a cavity in her chest, and revolt in her stomach. It was an-archy she was up against—a devouring muddle. Sudden holes and impromptu tricks and radiant vanishing consolations.

  But these Mennonite settlings are a blessing. The plop of behinds on chairs, the crackling of the candy bag, the meditative sucking and soft conversations. Without looking at Louisa, a little girl holds out the bag, and Louisa accepts a butterscotch mint. She is surprised to be able to hold it in her hand, to have her lips shape thank-you, then to discover in her mouth just the taste that she expected. She sucks on it as they do on theirs, not in any hurry, and allows that taste to promise her some reasonable continuance.

  Lights have come on, though it isn't yet evening. In the trees above the wooden chairs someone has strung lines of little colored bulbs that she did not notice until now. They make her think of festivities. Carnivals. Boats of singers on the lake.

  "What place is this?" she said to the woman beside her.

  On the day of Miss Tamblyn's death it happened that Louisa was staying in the Commercial Hotel. She was a traveller then for a company that sold hats, ribbons, handkerchiefs and trim-mings, and ladies' underwear to retail stores. She heard the talk in the hotel, and it occurred to her that the town would soon need a new Librarian. She was getting very tired of lugging her sample cases on and off trains, and showing her wares in hotels, packing and unpacking. She went at once and talked to the people in charge of the Library. A Mr. Doud and a Mr. Macleod. They sounded like a vaudeville team but did not look it. The pay was poor, but she had not been doing so well on commission, either. She told them that she had finished high school, in Toronto, and had worked in Eaton's Book Department before she switched to travelling. She did not think it necessary to tell them that she had only worked there five months when she was discovered to have t.b., and that she had then spent four years in a sanitorium. The t.b. was cured, anyway, her spots were dry.

  The hotel moved her to one of the rooms for permanent guests, on the third floor. She could see the snow-covered hills over the rooftops. The town of Carstairs was in a river valley.

  It had three or four thousand people and a long main street that ran downhill, over the river, and uphill again. There was a piano and organ factory.

  The houses were built for lifetimes and the yards were wide and the streets were lined with mature elm and maple trees.

  She had never been here when the leaves were on the trees.

  It must make a great difference. So much that lay open now would be concealed.

  She was glad of a fresh start, her spirits were hushed and grateful. She had made fresh starts before and things had not turned out as she had hoped, but she believed in the swift decision, the unforeseen intervention, the uniqueness of her fate.

  The town was full of the smell of horses. As evening came on, big blinkered horses with feathered hooves pulled the sleighs across the bridge, past the hotel, beyond the street-lights, down the dark side roads. Somewhere out in the country they would lose the sound of each other's bells.

  A Real Life

  - •

  A man came along and fell in love with Dorrie Beck. At least, he wanted to marry her. It was true.

  "If her brother was alive, she would never have needed to get married," Millicent said. What did she mean? Not something shameful. And she didn't mean money either. She meant that love had existed, kindness had created comfort, and in the poor, somewhat feckless life Dorrie and Albert lived together, loneliness had not been a threat. Millicent, who was shrewd and practical in some ways, was stubbornly sentimental in others. She believed always in the sweetness of affection that had eliminated sex.

  She thought it was the way that Dorrie used her knife and fork that had captivated the man. Indeed, it was the same way as he used his. Dorrie kept her fork in her left hand and used the right only for cutting. She did not shift her fork continually to the right hand to pick up her food. That was because she had been to Whitby Ladies College when she was young.

  A last spurt of the Becks' money. Another thing she had learned there was a beautiful handwriting, and that might have been a factor as well, because after the first meeting the entire courtship appeared to have been conducted by letter. Millicent loved the sound of Whitby Ladies College, and it was her plan—not shared with anybody—that her own daughter would go there someday.

  Millicent was not an uneducated person herself. She had taught school. She had rejected two serious boyfriends—one because she couldn't stand his mother, one because he tried putting his tongue in her mouth—before she agreed to marry Po
rter, who was nineteen years older than she was. He owned three farms, and he promised her a bathroom within a year, plus a dining-room suite and a chesterfield and chairs. On their wedding night he said, "Now you've got to take what's coming to you," but she knew it was not unkindly meant.

  This was in 1933.

  She had three children, fairly quickly, and after the third baby she developed some problems. Porter was decent mostly, after that, he left her alone.

  The Beck house was on Porter's land, but he wasn't the one who had bought the Becks out. He bought Albert and Dorrie's place from the man who had bought it from them.

  So, technically, they were renting their old house back from Porter. But money did not enter the picture. When Albert was alive, he would show up and work for a day when important jobs were undertaken—when they were pouring the cement floor in the barn or putting the hay in the mow. Dorrie had come along on those occasions, and also when Millicent had a new baby, or was housecleaning. She had remarkable strength for lugging furniture about and could do a man's job, like putting up the storm windows. At the start of a hard A Real Life

  job—such as ripping the wallpaper off a whole room—she would settle back her shoulders and draw a deep, happy breath. She glowed with resolution. She was a big, firm woman with heavy legs, chestnut-brown hair, a broad bashful face, and dark freckles like dots of velvet. A man in the area had named a horse after her.

  In spite of Dorrie's enjoyment of housecleaning, she did not do a lot of it at home. The house that she and Albert had lived in—that she lived in alone, after his death—was large and handsomely laid out but practically without furniture.

  Furniture would come up in Dorrie's conversation—the oak sideboard, Mother's wardrobe, the spool bed—but tacked onto this mention was always the phrase "that went at the Auction." The Auction sounded like a natural disaster, something like a flood and windstorm together, about which it would be pointless to complain. No carpets remained, either, and no pictures. There was just the calendar from Nunn's Grocery, which Albert used to work for. Absences of such customary things—and the presence of others, such as Dorrie's traps and guns and the boards for stretching rabbit and muskrat skins had made the rooms lose their designations, made the notion of cleaning them seem frivolous. Once, in the summer, Millicent saw a pile of dog dirt at the head of the stairs. She didn't see it while it was fresh, but it was fresh enough to seem an offense. Through the summer it changed, from brown to gray.