All Those Vanished Engines (21 page)

“The house itself interested me more, designed by Henry Dudley (of the euphonious New York firm of Diaper & Dudley) in the mid-1860s, and displaying some interesting features of the Romantic Revival. It was shameless copy of many rather ugly buildings, but I have often thought that true originality in architecture, or in anything, can only be achieved through a self-conscious process of imitation. I was especially taken with the elegant way the staff's rooms and corridors and staircases were folded invisibly into the structure, as if two separate houses were located on the same floor plan, intersecting only through a series of hidden doors. In fact, there were many more secret passageways and whatnot than were usual. I was shown the secret tunnel under the front. There was a large dumbwaiter on the first floor.

“The docent told me stories of the family, and stories also about screams in the night, strange sounds and footsteps, lights turned on, a mysterious impression on the mattress of the great four-poster in the master bedroom. These are standard stories in old houses, but it seemed to me that an unusual quantity had accumulated here, a ghost in almost every room, and this over a mere hundred years of occupation. For example, there was a servant who had disappeared after his shift, never to be heard of again. A fellow named John Kepler, like the philosopher. He had left a wife and child in the village.

“I had thought I would go to the morning session and then use the afternoon to stroll about the town. As things turned out, I found my leg was bothering me too much. I could not bear to walk the streets or even less to climb the hill to the campus, for fear I might be recognized. I berated myself for coming within a hundred miles of the place, and so I took refuge in the mansion past the time everyone else had departed, and the staff was preparing for a special children's program, putting up paper spiderwebs and bats. The docents were so used to me they left me to my own devices. Waiting for Winifred to pick me up, I found myself sitting in an alcove off Eliza McCullough's bedroom, where she had written her correspondence at a small, Italianate, marble-topped table.

“I sat back in the wicker chair. I've always had an instinct for rotten wood, and for any kind of anomaly. I happened to glance at the parquet floor beneath my feet and saw at once a place where the complicated inlay had been cut apart and reassembled not quite perfectly. In old houses sometimes there are secret compartments put in for the original owners, and that secret is often lost and forgotten in the second generation or the third. And in this house I thought I could detect a mania for secrecy. I put my foot on the anomaly and pressed, and was rewarded by a small click. I could tell a box was hidden under the surface of the floor.

“I confess I was nervous and excited as I listened at the door for the footsteps of the staff. Then I returned and knelt down on the floor. I could see immediately the secret was an obvious one, a puzzle like those child's toys, plastic sliding squares with letters on them in a little frame, and because one square is missing, the rest can be rearranged. Words can be spelled. The little squares of parquetry moved under my fingers until one revealed a deeper hole underneath. I reached in and found the clasp, and the box popped open.

“The hole contained a document. I had already been shown a sample of Eliza Park-McCullough's handwriting, the distinctively loopy, forceful, slanting letters, which I recognized immediately. I enclose the pages, pilfered from the house. But because they are difficult to read, I also transcribe them here:

God I think I will go mad if I don't put this down and put this down. Esther tells me to say nothing, to tell nothing and say nothing, but she does not live here. Nor will she come back she says as long as she lives. And the rest are all gone and will not come back for an old woman, nor can I tell them. It would be prison if they knew or an asylum. So here I am alone in the nights when the servants go back behind the wall, and I take the elevator to the second floor. And I cannot always keep the lights burning and the victrola playing and the radio on, and then I am alone. It has been twenty years since Mr. McCullough died and left me here, a crippled bird who cannot fly to him! So in the night I drink my sherry and roll my chair back and forth along the hall. I spy from the front windows, and I can almost see them gather on the lawn, not just one or two. But they nod shyly to each other as they join in the dance. The lamps that they carry glow like fireflies. But they are also lit from above as if from an enormous fire behind the clouds, an engine coming down. Some nights I think it must land here on the roof, and if I could I would climb to the top of the house, and it would take me up. Or else I lie on my bed and listen for the sounds I know must come, the clink of the billiard balls on the green baize, and the smell of cigar smoke even though it has been two years since I had them take the balls and cues away. I asked them to burn them. I am sure they thought me insane, but I'm not insane. Nor was I even unhappy till the monster came into this house, and if I'm punished now it is for giving him his post and not dismissing him. But how could I do that? John McCullough, do you forgive me? It was for his high forehead and curling brown moustaches and strong arms like your arms. Do you know when I first saw him, when he first stood there in the hall with his cap in his hands, I thought I saw your ghost. No one is alive now who remembers you when you were young, but I remember. That boy was my John brought back, and when he lifted me in his arms and carried me upstairs before the elevator went in, when he put me down in my wheel-chair at the top of the stairs, I scarcely could let go his neck. Do they think because I'm paralyzed that I feel nothing? Even now, past my eightieth year I can remember how it felt when you would carry me up those stairs and to my room, me like a little bird in your arms, though I could walk then and fly, too. Do not think I was unfaithful when I put my face into his shirt when he was carrying me upstairs. And when he put me down and asked me in his country voice if there was anything more, why then the spell was broken.

I do not say these things to excuse myself. There is no excuse. Though even now I marvel I was able to do it, able to find a way that night when they were all asleep and I was reading in my room. Or perhaps I had gone asleep. ‘Is that you?' I cried when I heard the click of the billiard balls and smelled the cigar. I thought it was you, the way you put the house to bed before you came up. I pulled myself into my chair and wheeled myself down the hall. ‘Is that you?' And when I saw him coming up the stairs, you ask me why I didn't ring the bell. I tell you it was all a dream until he spoke in his loud voice. I had no money about the place. Perhaps he thought I'd be asleep. He smiled when he saw me. He was drunk. I am ashamed to say I do not think he would have hurt me. But I could not forgive him because he knew my secret. I could tell it in his smiling face as he came down the hall. He knew why I could not cry out or ring the bell. Oh my John, he was nothing like you then as he turned my chair about and rolled me down away from the servants' door. ‘Is that right, old bird?' he said. He would not let go of my chair. Once he put his hand over my mouth. And he went through my jewel case and he turned out my closets and my drawers. He could not guess the secret of this box where I keep the stone. Then he was angry and he took hold of my arms. He put his face against my face so that our noses touched, and he smiled and I could smell his cologne and something else, the man's smell underneath. I could not forgive him. ‘There in the closet,' I said, meaning the water closet, though he didn't understand me. I let him wheel me over the threshold, and then I reached out on the surface of the cabinet where Mr. McCullough's man had shaved him every morning. There was no electric light, and so I reached out my hand in the darkness. The man's head was near my head and I struck at him with the razor. Oh, I could not get it out of my head that I had committed a great crime! It was you, John, who put that thought into my head, and I did not deserve it! I pulled myself into my room again. I found a clean night-gown and took off my other one and lay down on my bed. When I made my telephone call it was to Esther who drove up from the town. I think I was a little insane, then. She scrubbed the floor with her own hands. She told me we must tell no one, and that no one would believe us. She said there was a space where the dumb-waiter comes into the third floor, a fancy of the builder's she'd discovered when she and Bess were children. It is a three-sided compartment set into the top of the shaft. Esther does not live in the real world, though that is hard to say of your own child. She said the stone would keep the man away. But otherwise he would come back. She laughed and said it would be an eye for him. We'd put it into his head and it would be his eye. We'd claim he'd stolen it and run away. We'd claim a rat had died inside the wall.

“I sat reading these notes as it grew dark. Then I folded up the pages and slipped them into my jacket. I sat at Mrs. McCullough's desk and stared out the window. Darkness was falling. I poked at the floor with the end of my cane. Winifred was late. The box in the parquetry was closed.

“The docent's name was Jane Mears, and she was a beautiful, shy woman, with soft hair, if you care about that sort of thing. She stood in the doorway with a question on her lips. I asked her whether there was any story of a famous jewel that appertained to the house. And she told me about a massive stone, a ruby or sapphire or topaz or tourmaline the size of an orange that Trenor Park had won in a poker game in San Francisco. According to the story, it was delivered to his hotel room in a blood-spattered box, the former owner having shot himself after he packed it up.

“‘It disappeared around 1932,' she said.

“I didn't say anything. I was not like other members of my family, or like my cousin Theodora who had died. I had never heard the voices. There had been no membrane over my eyes when I was born, no secret screen of images between me and the world. But even so I was interested in the anomaly, the corpse at the top of the shaft, a jewel in his mouth, as I imagined. A ghost's footprint in the dust, or else the men and women who had come out of the corn to follow my great-great-great-grandfather up Bartlett Hill in Preston, where there was a machine, or a mechanical robot, or an automaton with the cold light behind it and the stag running away.

“When Winifred drove up, I was waiting in the drive. She had stories to tell me about my son's family. I asked her to take the long way round, to circle by the campus, and we drove through North Bennington and watched the children dressed as witches and Frankensteins. There was a little ghost running after his mother, carrying a pumpkin.

“I motioned with my finger, and Winifred drove me toward the Silk Road and the covered bridge, then past it toward the corner where my car had spun out of control. She chattered about her day, and I responded in monosyllables. She made the turn past the tree where I had lost control. She didn't know, and at first I didn't think I would say anything about it. But then I changed my mind. ‘Stop,' I said, and I made her pull over onto the side of the road. I gave her some foolish story, and left her in the car while I limped back in the darkness to deliver my gift.”

6. A
NDROMEDA
Y
OO

As I sped home at dusk, I wondered if I should retrace my grandfather's steps and drive up to the Park-McCullough House along Silk Road—it wasn't so far out of the way. Perhaps I could find the tree he was talking about. But I passed the turnoff and continued, pondering as I did so the differences and connections between this narrative and the previous ones. That Halloween night, I thought, there had been no ghosts in the cornrows, and no cornrows at all, lining the front of the mansion or surrounding the elaborate porte cochere. But then why had my grandfather chosen that image or motif for his portrait of the house? Though it was obvious he had read the Reverend Parke's sermon, he had no way of knowing how it corresponded or overlapped with various documents from my mother's family—manuscripts he'd never seen, composed by people he'd never met.

But after I had crossed into New York State, I left behind my obsessive thoughts of those dry texts. Instead I imagined my wife waiting for me. And so when I arrived home at my little house beside the river, there she was. She had brought Chinese food from Pittsfield, where she worked as a lawyer for SABIC Plastics.

What was it my grandfather had said? “A beautiful, shy woman with long black hair, if you care about that sort of thing. She stood in the doorway with a question on her lips…”—when I had first read the description I had thought of my wife. Driving home, remembering that first reading, I thought of her again, and wondered how I would answer her question, and whether she would be angry or impatient, as the docent at the Park-McCullough house, I imagined, had had every right to be. But Andromeda was just curious; she often got home late after supper, and in the long September light, everything tended to seem earlier than it was. We made Bombay-and-tonics and went to sit on the deck looking down toward the swamp willows, and ate seaweed salad and chicken with orange sauce out of the white containers with wire handles—very civilized. Andromeda raised her chopsticks, a further interrogation.

And so I told her about the mystery, the ghosts in the corn. As I did so, I remembered the first time I saw her in Professor Rosenheim's class, fresh-faced, eager to engage. Rosenheim had given them an early novel of mine,
A Princess of Roumania
, and it was obvious to me that Andromeda had liked it very much. The class itself was about meta-fiction, which is a way of doubling a story back upon itself, in a fashion similar to my grandfather's description of the double nature of the Park-McCullough mansion with its manifest anomalies. It was possible to see these kinds of patterns in my own work, although I always warned students against complexity for its own sake, and to consider the virtues of the simple story, simply told.