The Nick Adams Stories Part 27

"I'll take this with me," he said. The Ghee washed down his pie with a dipper full of water from the bucket.

"If you want anything to read, Ghee, get it out of my room," Nick said. The Ghee had been looking at the lunch Nick had wrapped up.

"Don't be a d.a.m.n fool, Wemedge," he said.

"That's all right, Ghee."

"All right. Only don't be a d.a.m.n fool," the Ghee said. He opened the screen door and went out across the gra.s.s to the cottage. Nick turned off the light and went out, hooking the screen door shut. He had the lunch wrapped up in a newspaper and crossed the wet gra.s.s, climbed the fence and went up the road through the town under the big elm trees, past the last cl.u.s.ter of R.F.D. mailboxes at the crossroads and out onto the Charlevoix highway. After crossing the creek he cut across a field, skirted the edge of the orchard, keeping to the edge of the clearing, and climbed the rail fence into the wood lot. In the center of the wood lot four hemlock trees grew close together. The ground was soft with pine needles and there was no dew. The wood lot had never been cut over and the forest floor was dry and warm without underbrush. Nick put the package of lunch by the base of one of the hemlocks and lay down to wait. He saw Kate coming through the trees in the dark but did not move. She did not see him and stood a moment, holding the two blankets in her arms. In the dark it looked like some enormous pregnancy. Nick was shocked. Then it was funny.

"h.e.l.lo, Butstein," he said. She dropped the blankets.

"Oh, Wemedge. You shouldn't have frightened me like that. I was afraid you hadn't come."

"Dear Butstein," Nick said. He held her close against him, feeling her body against his, all the sweet body against his body. She pressed close against him.

"I love you so, Wemedge."

"Dear, dear old Butstein," Nick said.

They spread the blankets, Kate smoothing them flat.

"It was awfully dangerous to bring the blankets," Kate said.

"I know," Nick said. "Let's undress."

"Oh, Wemedge."

"It's more fun." They undressed sitting on the blankets. Nick was a little embarra.s.sed to sit there like that.

"Do you like me with my clothes off, Wemedge?"

"Gee, let's get under," Nick said. They lay between the rough blankets. He was hot against her cool body, hunting for it, then it was all right.

"Is it all right?"

Kate pressed all the way up for answer.

"Is it fun?"

"Oh, Wemedge. I've wanted it so. I've needed it so."

They lay together in the blankets. Wemedge slid his head down, his nose touching along the line of the neck, down between her b.r.e.a.s.t.s. It was like piano keys.

"You smell so cool," he said.

He touched one of her small b.r.e.a.s.t.s with his lips gently. It came alive between his lips, his tongue pressing against it. He felt the whole feeling coming back again and, sliding his hands down, moved Kate over. He slid down and she fitted close in against him. She pressed tight in against the curve of his abdomen. She felt wonderful there. He searched, a little awkwardly, then found it. He put both hands over her b.r.e.a.s.t.s and held her to him. Nick kissed hard against her back. Kate's head dropped forward.

"Is it good this way?" he said.

"I love it. I love it. I love it. Oh come, Wemedge. Please come. Come, come. Please, Wemedge. Please, please, Wemedge."

"There it is," Nick said.

He was suddenly conscious of the blanket rough against his bare body.

"Was I bad, Wemedge?" Kate said.

"No, you were good," Nick said. His mind was working very hard and clear. He saw everything very sharp and clear. "I'm hungry," he said.

"I wish we could sleep here all night." Kate cuddled against him.

"It would be swell," Nick said. "But we can't. You've got to get back to the house."

"I don't want to go," Kate said.

Nick stood up, a little wind blowing on his body. He pulled on his shirt and was glad to have it on. He put on his trousers and shoes.

"You've got to get dressed, s.l.u.t," he said. She lay there, the blankets pulled over her head.

"Just a minute," she said. Nick got the lunch from over by the hemlock. He opened it up.

"Come on, get dressed, s.l.u.t," he said.

"I don't want to," Kate said, "I'm going to sleep here all night." She sat up in the blankets. "Hand me those things, Wemedge."

Nick gave her the clothes.

"I've just thought of it," Kate said. "If I sleep out here they'll just think that I'm an idiot and came out here with the blankets and it will be all right."

"You won't be comfortable," Nick said.

"If I'm uncomfortable I'll go in."

"Let's eat before I have to go," Nick said.

"I'll put something on," Kate said.

They sat together and ate the fried chicken and each ate a piece of cherry pie.

Nick stood up, then kneeled down and kissed Kate.

He came through the wet gra.s.s to the cottage and upstairs to his room, walking carefully not to creak. It was good to be in bed, sheets, stretching out full length, dipping his head in the pillow. Good in bed, comfortable, happy, fishing tomorrow, he prayed as he always prayed when he remembered it, for the family, himself, to be a great writer, Kate, the men, Odgar, for good fishing, poor old Odgar, poor old Odgar, sleeping up there at the cottage, maybe not sleeping, maybe not sleeping all night. Still there wasn't anything you could do, not a thing.

COMPANY OF TWO.

Wedding Day He had been in swimming and was washing his feet in the wash bowl after having walked up the hill. The room was hot and Dutch and Luman were both standing around looking nervous. Nick got a clean suit of underwear, clean silk socks, new garters, a white shirt and collar out from the drawer of the bureau and put them on. He stood in front of the mirror and tied his tie. Dutch and Luman reminded him of dressing rooms before fights and football games. He enjoyed their nervousness. He wondered if it would be this way if he were going to be hanged. Probably. He could never realize anything until it happened. Dutch went out for a corkscrew and came in and opened the bottle.

"Take a good shot, Dutch."

"After you, Stein."

"No. What the h.e.l.l. Go on and drink."

Dutch took a good long pull. Nick resented the length of it. After all, that was the only bottle of whiskey there was. Dutch pa.s.sed the bottle to him. He handed it to Luman. Luman took a shot not quite as long as Dutch's.

"All right, Stein, old kid." He handed the bottle to Nick.

Nick took a couple of swallows. He loved whiskey. Nick pulled on his trousers. He wasn't thinking at all. h.o.r.n.y Bill, Art Meyer and the Ghee were dressing upstairs. They ought to have liquor. Christ, why wasn't there any more than one bottle.

After the wedding was over they got into John Kotesky's Ford and drove over the hill road to the lake. Nick paid John Kotesky five dollars and Kotesky helped him carry the bags down to the rowboat. They both shook hands with Kotesky and then his Ford went back up along the road. They could hear it for a long time. Nick could not find the oars where his father had hidden them for him in the plum trees back of the ice house and Helen waited for him down at the boat. Finally he found them and carried them down to the sh.o.r.e.

It was a long row across the lake in the dark. The night was hot and depressing. Neither of them talked much. A few people had spoiled the wedding. Nick rowed hard when they were near sh.o.r.e and shot the boat up on the sandy beach. He pulled it up and Helen stepped out. Nick kissed her. She kissed him back hard the way he had taught her with her mouth a little open so their tongues could play with each other. They held tight to each other and then walked up to the cottage. It was dark and long. Nick unlocked the door and then went back to the boat to get the bags. He lit the lamps and they looked through the cottage together.

On Writing It was getting hot, the sun hot on the back of his neck.

Nick had one good trout. He did not care about getting many trout. Now the stream was shallow and wide. There were trees along both banks. The trees of the left bank made short shadows on the current in the forenoon sun. Nick knew there were trout in each shadow. He and Bill Smith had discovered that on the Black River one hot day. In the afternoon, after the sun had crossed toward the hills, the trout would be in the cool shadows on the other side of the stream.

The very biggest ones would lie up close to the bank. You could always pick them up there on the Black. Bill and he had discovered it. When the sun was down they all moved out into the current. Just when the sun made the water blinding in the glare before it went down you were liable to strike a big trout anywhere in the current. It was almost impossible to fish then, the surface of the water was blinding as a mirror in the sun. Of course you could fish upstream, but in a stream like the Black or this you had to wallow against the current and in a deep place the water piled up on you. It was no fun to fish upstream although all the books said it was the only way.

All the books. He and Bill had fun with the books in the old days. They all started with a fake premise. Like fox hunting. Bill Bird's dentist in Paris said, in fly fishing you pit your intelligence against that of the fish. That's the way I'd always thought of it, Ezra said. That was good for a laugh. There were so many things good for a laugh. In the States they thought bullfighting was a joke. Ezra thought fishing was a joke. Lots of people think poetry is a joke. Englishmen are a joke.

Remember when they pushed us over the barrera in front of the bull at Pamplona because they thought we were Frenchmen? Bill's dentist is as bad the other way about fishing. Bill Bird, that is. Once Bill meant Bill Smith. Now it means Bill Bird. Bill Bird was in Paris now.

When he married he lost Bill Smith, Odgar, the Ghee, all the old gang. Was it because they were virgins? The Ghee certainly was not. No, he lost them because he admitted by marrying that something was more important than the fishing.

He had built it all up. Bill had never fished before they met. Everyplace they had been together. The Black, the Sturgeon, the Pine Barrens, the Upper Minnie, all the little streams. Most about fishing he and Bill had discovered together. They worked on the farm and fished and took long trips in the woods from June to October. Bill always quit his job every spring. So did he. Ezra thought fishing was a joke.

Bill forgave him the fishing he had done before they met. He forgave him all the rivers. He was really proud of them, it was like a girl about other girls, if they were before they did not matter. But after was different.

That was why he lost them, he guessed.

They were all married to fishing. Ezra thought fishing was a joke. So did most everybody. He'd been married to it before he married Helen. Really married to it. It wasn't any joke.

So he lost them all. Helen thought it was because they didn't like her.

Nick sat down on a boulder in the shade and hung his sack down into the river. The water swirled around both sides of the boulder, it was cool in the shade. The bank of the river was sandy under the edge of the trees. There were mink tracks in the sand.

He might as well be out of the heat. The rock was dry and cool. He sat letting the water run out of his boots down the side of the rock.

Helen thought it was because they did not like her. She really did. Gosh, he remembered the horror he used to have of people getting married. It was funny. Probably it was because he had always been with older people, nonmarrying people.

Odgar always wanted to marry Kate. Kate wouldn't ever marry anybody. She and Odgar always quarreled about it but Odgar did not want anybody else and Kate wouldn't have anybody. She wanted them to be just as good friends and Odgar wanted to be friends and they were always miserable and quarreling trying to be.

It was the Madame planted all that asceticism. The Ghee went with girls in houses in Cleveland but he had it, too. Nick had had it, too. It was all such a fake. You had this fake ideal planted in you and then you lived your life to it.

All the love went into fishing and the summer.

He had loved it more than anything. He had loved digging potatoes with Bill in the fall, the long trips in the car, fishing in the bay, reading in the hammock on hot days, swimming off the dock, playing baseball at Charlevoix and Petoskey, living at the Bay, the Madame's cooking, the way. she had with servants, eating in the dining room looking out the window across the long fields and the point to the lake, talking with her, drinking with Bill's old man, the fishing trips away from the farm, just lying around.

He loved the long summer. It used to be that he felt sick when the first of August came and he realized that there were only four more weeks before the trout season closed. Now sometimes he had it that way in dreams. He would dream that the summer was nearly gone and he hadn't been fishing. It made him feel sick in the dream, as though he had been in jail.

The hills at the foot of Walloon Lake, storms on the lake coming up in the motorboat, holding an umbrella over the engine to keep the waves that came in off the spark plug, pumping out, running the boat in big storms delivering vegetables around the lake, climbing up, sliding down, the wave following behind, coming up from the foot of the lake with the groceries, the mail and the Chicago paper under a tarpaulin, sitting on them to keep them dry, too rough to land, drying out in front of the fire, the wind in the hemlocks and the wet pine needles underfoot when he was barefoot going for the milk. Getting up at daylight to row across the lake and hike over the hills after a rain to fish at Hortons Creek.

Hortons always needed a rain. Shultz's was no good if it rained, running muddy and overflowing, running through the gra.s.s. Where were the trout when a stream was like that?

That was where the bull chased him over the fence and he lost his pocketbook with all the hooks in it.

If he knew then what he knew about bulls now. Where were Maera and Algabeno now? August the Feria at Valencia, Santander, bad fights at St. Sebastien. Sanchez Mejias killing six bulls. The way phrases from bullfight papers kept coming into his head all the time until he had to quit reading them. The corrida of the Miuras. In spite of his notorious defects in the execution of the pase natural. The flower of Andalucia. Chiquelin el camelista. Juan Terremoto. Belmente Vuelve?

Maera's kid brother was a bullfighter now. That was the way it went.

His whole inner life had been bullfights all one year. c.h.i.n.k pale and miserable about the horses. Don never minded them, he said. "And then suddenly I knew I was going to love bullfighting." That must have been Maera. Maera was the greatest man he'd ever known. c.h.i.n.k knew it, too. He followed him around in the encierro.

He, Nick, was the friend of Maera and Maera waved at them from Box 87 above their sobrepuerta and waited for Helen to see him and waved again and Helen worshipped him and there were three picadors in the box and all the other picadors did their stuff right down in front of the box and looked up and waved before and after and he said to Helen that picadors only worked for each other, and of course it was true. And it was the best pic-ing he ever saw and the three pics in the box with their Cordoba hats nodded at each good vara and the other pics waved up at them and then did their stuff. Like the time the Portuguese were in and the old pic threw his hat into the ring hanging on over the barrera watching young Da Veiga. That was the saddest thing he'd ever seen. That was what that fat pic wanted to be, a caballero en plaza. G.o.d, how that Da Veiga kid could ride. That was riding. It didn't show well in the movies.

The movies ruined everything. Like talking about something good. That was what had made the war unreal. Too much talking.

Talking about anything was bad. Writing about anything actual was bad. It always killed it.

The only writing that was any good was what you made up, what you imagined. That made everything come true. Like when he wrote "My Old Man" he'd never seen a jockey killed and the next week Georges Parfrement was killed at that very jump and that was the way it looked. Everything good he'd ever written he'd made up. None of it had ever happened. Other things had happened. Better things, maybe. That was what the family couldn't understand. They thought it all was experience.

That was the weakness of Joyce. Daedalus in Ulysses was Joyce himself, so he was terrible. Joyce was so d.a.m.n romantic and intellectual about him. He'd made Bloom up, Bloom was wonderful. He'd made Mrs. Bloom up. She was the greatest in the world.

That was the way with Mac. Mac worked too close to life. You had to digest life and then create your own people. Mac had stuff, though.

Nick in the stories was never himself. He made him up. Of course he'd never seen an Indian woman having a baby. That was what made it good. n.o.body knew that. He'd seen a woman have a baby on the road to Karagatch and tried to help her. That was the way it was.

He wished he could always write like that. He would sometime. He wanted to be a great writer. He was pretty sure he would be. He knew it in lots of ways. He would in spite of everything, it was hard, though.

It was hard to be a great writer if you loved the world and living in it and special people. It was hard when you loved so many places. Then you were healthy and felt good and were having a good time and what the h.e.l.l.

He always worked best when Helen was unwell. Just that much discontent and friction. Then there were times when you had to write. Not conscience. Just peristaltic action. Then you felt sometimes like you could never write but after a while you knew sooner or later you would write another good story.

It was really more fun than anything. That was really why you did it. He had never realized that before, it wasn't conscience, it was simply that it was the greatest pleasure, it had more bite to it than anything else, it was so d.a.m.n hard to write well, too.

There were so many tricks.

It was easy to write if you used the tricks. Everybody used them. Joyce had invented hundreds of new ones. Just because they were new didn't make them any better. They would all turn into cliches.

He wanted to write like Cezanne painted.

Cezanne started with all the tricks. Then he broke the whole thing down and built the real thing, it was h.e.l.l to do. He was the greatest. The greatest for always. It wasn't a cult. He, Nick, wanted to write about country so it would be there like Cezanne had done it in painting. You had to do it from inside yourself. There wasn't any trick. n.o.body had ever written about country like that. He felt almost holy about it. It was deadly serious. You could do it if you would fight it out. If you'd lived right with your eyes.