The Hours. Michael Cunningham
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of someone whose career seems undeniably significant.”
“That’s great.”
“Yes,” she says. She adds, after a moment, “The last recipient was Ashbery. The last before him were Merrill, Rich, and Merwin.”
A shadow passes over Walter’s broad, innocent face. Clarissa wonders: Is he puzzling over the names? Or could he, could he possibly, be envious? Does he imagine that he himself might be a contender for an honor like that?
“I’m sorry I didn’t tell you about the party sooner,” she says. “It just never occurred to me you’d be around. You and Evan are never in town on the weekends.”
Walter says of course he’ll come, and he’ll bring Evan if Evan feels up to it, though Evan, of course, may choose to husband his energies for dancing. Richard will be furious to hear that Walter has been invited, and Sally will certainly side with him. Clarissa understands. Little in the world is less mysterious than the disdain people often feel for Walter Hardy, who’s elected to turn forty-six in baseball caps and Nikes; who makes an obscene amount of money writing romance novels about love and loss among perfectly muscled young men; who can stay out all night dancing to house music, blissful and inexhaustible as a German shepherd retrieving a stick. You see men like Walter all over Chelsea and the Village, men who insist, at thirty or forty or older, that they have always been chipper and confident, powerful of body; that they’ve never been strange children, never taunted or despised. Richard argues that eternally youthful gay men do more harm to the cause than do men who seduce little boys, and yes, it’s true that Walter brings no shadow of adult irony or cynicism, nothing remotely profound, to his interest in fame and fashions, the latest restaurant. Yet it is just this greedy innocence Clarissa appreciates. Don’t we love children, in part, because they live outside the realm of cynicism and irony? Is it so terrible for a man to want more youth, more pleasure? Besides, Walter is not corrupt; not exactly corrupt. He writes the best books he can—books full of romance and sacrifice, courage in the face of adversity—and surely they must offer real comfort to any number of people. His name appears constantly on invitations to fund-raisers and on letters of protest; he writes embarrassingly lavish blurbs for younger writers. He takes good, faithful care of Evan. These days, Clarissa believes, you measure people first by their kindness and their capacity for devotion. You get tired, sometimes, of wit and intellect; everybody’s little display of genius. She refuses to stop enjoying Walter Hardy’s shameless shallowness, even if it drives Sally to distraction and has actually inspired Richard to wonder out loud if she, Clarissa, isn’t more than a little vain and foolish herself.
“Good,” Clarissa says. “You know where we live, right? Five o’clock.”
“Five o’clock.”
“It needs to be early. The ceremony’s at eight, we’re having the party before instead of after. Richard can’t manage late nights.”
“Right. Five o’clock. See you then.” Walter squeezes Clarissa’s hand and walks on with a swaggering two-step, a demonstration of hefty vitality. It’s a cruel joke, of a sort, inviting Walter to Richard’s party, but Walter, after all, is alive, just as Clarissa is, on a morning in June, and he’ll feel horribly snubbed if he finds out (and he seems to find everything out) Clarissa spoke to him the day of the party and deliberately failed to mention it. Wind worries the leaves, showing the brighter, grayer green of their undersides, and Clarissa wishes, suddenly and with surprising urgency, that Richard were here beside her, right now—not Richard as he’s become but the Richard of ten years ago; Richard the fearless, ceaseless talker; Richard the gadfly. She wants the argument she and that Richard would have had about Walter. Before Richard’s decline, Clarissa always fought with him. Richard actually worried over questions of good and evil, and he never, not in twenty years, fully abandoned the notion that Clarissa’s decision to live with Sally represents, if not some workaday manifestation of deep corruption, at least a weakness on her part that indicts (though Richard would never admit this) women in general, since he seems to have decided early on that Clarissa stands not only for herself but for the gifts and frailties of her entire sex. Richard has always been Clarissa’s most rigorous, infuriating companion, her best friend, and if Richard were still himself, untouched by illness, they could be together right now, arguing about Walter Hardy and the quest for eternal youth, about how gay men have taken to imitating the boys who tortured them in high school. The old Richard would be capable of talking for half an hour or more about the various possible interpretations of the inept copy of Botticelli’s Venus being drawn by a young black man with chalk on the concrete, and if that Richard had noticed the windblown plastic bag that billowed against the white sky, rippling like a jellyfish, he’d have carried on about chemicals and endless profits, the hand that takes. He’d have wanted to talk about how the bag (say it had contained potato chips and overripe bananas; say it had been thoughtlessly discarded by a harassed, indigent mother as she left a store amid her gaggle of quarreling children) will blow into the Hudson and float all the way to the ocean, where eventually a sea turtle, a creature that could live a hundred years, will mistake it for a jellyfish, eat the bag, and die. It wouldn’t have been impossible for Richard to segue, somehow, from that subject directly to Sally; to inquire after her health and happiness with pointed formality. He had a habit of asking about Sally after one of his tirades, as if Sally were some sort of utterly banal safe haven; as if Sally herself (Sally the stoic, the tortured, the subtly wise) were harmless and insipid in the way of a house on a quiet street or a good, solid, reliable car. Richard will neither admit to nor recover from his dislike of her, never; he will never discard his private conviction that Clarissa has, at heart, become a society wife, and never mind the fact that she and Sally do not attempt to disguise their love for anyone’s sake, or that Sally is a devoted, intelligent woman, a producer of public television, for heaven’s sake—how much more hardworking and socially responsible, how much more dramatically underpaid, does she need to be? Never mind the good, flagrantly unprofitable books Clarissa insists on publishing alongside the pulpier items that pay her way. Never mind her politics, all her work with PWAs.
Clarissa crosses Houston Street and thinks she might pick up a little something for Evan, to acknowledge his tentatively returning health. Not flowers; if flowers are subtly wrong for the deceased they’re disastrous for the ill. But what? The shops of SoHo are full of party dresses and jewelry and Biedermeier; nothing to take to an imperious, clever young man who might or might not, with the help of a battery of drugs, live out his normal span. What does anyone want? Clarissa passes a shop and thinks of buying a dress for Julia, she’d look stunning in that little black one with the Anna Magnani straps, but Julia doesn’t wear dresses, she insists on spending her youth, the brief period in which one can wear anything at all, stomping around in men’s undershirts and leather lace-ups the size of cinder blocks. (Why does her daughter tell her so little? What happened to the ring Clarissa gave her for her eighteenth birthday?) Here’s that good little bookstore on Spring Street. Maybe Evan would like a book. Displayed in the window is one (only one!) of Clarissa’s, the English one (criminal, how she’d had to battle for a printing of ten thousand copies and, worse, how it looks as if they’ll be lucky to sell five), alongside the South American family saga she lost to a bigger house, which will clearly fail to earn out because, for mysterious reasons, it is respected but not loved. There is the new biography of Robert Mapplethorpe, the poems of Louise Glück, but nothing seems right. They are all, at once, too general and too specific. You want to give him the book of his own life, the book that will locate him, parent him, arm him for the changes. You can’t show up with celebrity gossip, can you? You can’t bring the story of an embittered English novelist or the fates of seven sisters in Chile, however beautifully written, and Evan is about as likely to read poetry as he is to take up painting on china plates.
There is no comfort, it seems, in the world of objects, and Clarissa fears that art, even the greatest of it (even Richard’s three volumes of poetry and his single, unreadable novel), belong stubbornly to the world of objects. Standing in front of the bookstore window, she is visited by an old memory, a tree branch tapping against a window as, from somewhere else (downstairs?), faint music, the low moan of a jazz band, started up on a phonograph. It is not her first memory (that seems to involve a snail crawling over the lip of a curb) or even her second (her mother’s straw sandals, or maybe the two are