KATHERINE MANSFIELD Ultimate Collection: 100+ Short Stories & Poems in One Volume. Katherine Mansfield
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names and dirty jokes and drawings of bottles and cups that would not sit in the saucers, scattered over the writing pad.
They are always the same, you know. The girls always have the same names, the cups never sit in the saucers; all the hearts are stuck and tied up with ribbons.
But then, quite suddenly, at the bottom of the page, written in green ink, I fell on to that stupid, stale little phrase: Je ne parle pas français.
There! it had come—the moment—the geste! And although I was so ready, it caught me, it tumbled me over; I was simply overwhelmed. And the physical feeling was so curious, so particular. It was as if all of me, except my head and arms, all of me that was under the table, had simply dissolved, melted, turned into water. Just my head remained and two sticks of arms pressing on to the table. But, ah! the agony of that moment! How can I describe it? I didn’t think of anything. I didn’t even cry out to myself. Just for one moment I was not. I was Agony, Agony, Agony.
Then it passed, and the very second after I was thinking: “Good God! Am I capable of feeling as strongly as that? But I was absolutely unconscious! I hadn’t a phrase to meet it with! I was overcome! I was swept off my feet! I didn’t even try, in the dimmest way, to put it down!”
And up I puffed and puffed, blowing off finally with: “After all I must be first-rate. No second-rate mind could have experienced such an intensity of feeling so . . . purely.”
The waiter has touched a spill at the red stove and lighted a bubble of gas under a spreading shade. It is no use looking out of the window, Madame; it is quite dark now. Your white hands hover over your dark shawl. They are like two birds that have come home to roost. They are restless, restless. . . . You tuck them, finally, under your warm little armpits.
Now the waiter has taken a long pole and clashed the curtains together. “All gone,” as children say.
And besides, I’ve no patience with people who can’t let go of things, who will follow after and cry out. When a thing’s gone, it’s gone. It’s over and done with. Let it go then! Ignore it, and comfort yourself, if you do want comforting, with the thought that you never do recover the same thing that you lose. It’s always a new thing. The moment it leaves you it’s changed. Why, that’s even true of a hat you chase after; and I don’t mean superficially—I mean profoundly speaking . . . I have made it a rule of my life never to regret and never to look back. Regret is an appalling waste of energy, and no one who intends to be a writer can afford to indulge in it. You can’t get it into shape; you can’t build on it; it’s only good for wallowing in. Looking back, of course, is equally fatal to Art. It’s keeping yourself poor. Art can’t and won’t stand poverty.
Je ne parle pas français. Je ne parle pas français. All the while I wrote that last page my other self has been chasing up and down out in the dark there. It left me just when I began to analyse my grand moment, dashed off distracted, like a lost dog who thinks at last, at last, he hears the familiar step again.
“Mouse! Mouse! Where are you? Are you near? Is that you leaning from the high window and stretching out your arms for the wings of the shutters? Are you this soft bundle moving towards me through the feathery snow? Are you this little girl pressing through the swing-doors of the restaurant? Is that your dark shadow bending forward in the cab? Where are you? Where are you? Which way must I turn? Which way shall I run? And every moment I stand here hesitating you are farther away again. Mouse! Mouse!”
Now the poor dog has come back into the café, his tail between his legs, quite exhausted.
“It was a . . . false . . . alarm. She’s nowhere . . . to . . . be seen.”
“Lie down then! Lie down! Lie down!”
My name is Raoul Duquette. I am twenty-six years old and a Parisian, a true Parisian. About my family—it really doesn’t matter. I have no family; I don’t want any. I never think about my childhood. I’ve forgotten it.
In fact, there’s only one memory that stands out at all. That is rather interesting because it seems to me now so very significant as regards myself from the literary point of view. It is this.
When I was about ten our laundress was an African woman, very big, very dark, with a check handkerchief over her frizzy hair. When she came to our house she always took particular notice of me, and after the clothes had been taken out of the basket she would lift me up into it and give me a rock while I held tight to the handles and screamed for joy and fright. I was tiny for my age, and pale, with a lovely little half-open mouth—I feel sure of that.
One day when I was standing at the door, watching her go, she turned round and beckoned to me, nodding and smiling in a strange secret way. I never thought of not following. She took me into a little outhouse at the end of the passage, caught me up in her arms and began kissing me. Ah, those kisses! Especially those kisses inside my ears that nearly deafened me.
When she set me down she took from her pocket a little round fried cake covered with sugar, and I reeled along the passage back to our door.
As this performance was repeated once a week it is no wonder that I remember it so vividly. Besides, from that very first afternoon, my childhood was, to put it prettily, “kissed away.” I became very languid, very caressing, and greedy beyond measure. And so quickened, so sharpened, I seemed to understand everybody and be able to do what I liked with everybody.
I suppose I was in a state of more or less physical excitement, and that was what appealed to them. For all Parisians are more than half—oh, well, enough of that. And enough of my childhood, too. Bury it under a laundry basket instead of a shower of roses and passons oultre.
I date myself from the moment that I became the tenant of a small bachelor flat on the fifth floor of a tall, not too shabby house, in a street that might or might not be discreet. Very useful, that. . . . There I emerged, came out into the light and put out my two horns with a study and a bedroom and a kitchen on my back. And real furniture planted in the rooms. In the bedroom a wardrobe with a long glass, a big bed covered with a yellow puffed-up quilt, a bed table with a marbled top and a toilet set sprinkled with tiny apples. In my study—English writing table with drawers, writing chair with leather cushions, books, arm-chair, side table with paper-knife and lamp on it and some nude studies on the walls. I didn’t use the kitchen except to throw old papers into.
Ah, I can see myself that first evening, after the furniture men had gone and I’d managed to get rid of my atrocious old concierge—walking about on tip-toe, arranging and standing in front of the glass with my hands in my pockets and saying to that radiant vision: “I am a young man who has his own flat. I write for two newspapers. I am going in for serious literature. I am starting a career. The book that I shall bring out will simply stagger the critics. I am going to write about things that have never been touched before. I am going to make a name for myself as a writer about the submerged world. But not as others have done before me. Oh, no! Very naively, with a sort of tender humour and from the inside, as though it were all quite simple, quite natural. I see my way quite perfectly. Nobody has ever done it as I shall do it because none of the others have lived my experiences. I’m rich—I’m rich.”
All the same I had no more money than I have now. It’s extraordinary how one can live without money. . . . I have quantities of good clothes, silk underwear, two evening suits, four pairs of patent leather boots with light uppers, all sorts of little things, like gloves and powder boxes and a manicure set, perfumes, very good soap, and nothing is paid for. If I find myself in need of right-down cash—well, there’s always an African laundress and an outhouse, and I am very frank and bon enfant about plenty of sugar on the little fried cake afterwards. . . .
And here I should like to put something on record. Not from any strutting conceit, but rather with a mild sense of wonder. I’ve never yet made the first advances to any woman. It isn’t as though I’ve known only one class of woman—not by any means. But from little prostitutes and kept women and elderly widows and shop girls and wives of respectable men, and even advanced modern literary ladies at the most select dinners and soirées (I’ve been there), I’ve met invariably with not only the same readiness, but