Galilee. Clive Barker
Like royalty, there has often been a grandeur to both their passions and to their failures which galvanized the rest of us, whose lives are by necessity confined. Even the people that they’d abused over the years—either in their personal lives or in their corporate machinations—were entranced by them; ready to forgive and forget if the gaze of the Gearys would only be turned their way again.
And, like royalty, they had their feet in blood. No throne was ever won or held without violence; and though the Gearys were not blessed by the same king-making gods who’d crowned the royal heads of Europe, or the emperors of China or Japan, there was a dark, bloody spirit in their collective soul, a Geary daemon if you will, who invested them with an authority out of all proportion to their secular rights. It made them fierce in love, and fierce still in hatred, it made them iron-willed and long-lived; it made them casually cruel and just as casually charismatic.
Most of the time, it was as though they didn’t even know what they were doing, good, bad or indifferent. They lived in a kind of trance of self-absorption, as though the rest of the world was simply a mirror held up to their faces, and they passed through life seeing only themselves.
In some ways love was the ultimate manifestation of the Geary daemon; because love was the way that the family increased itself, enriched itself.
For the males it was almost a point of pride that they be adulterous, and that the world know it, even if the subject wasn’t talked about above a whisper. This dubious tradition had been initiated by Mitch’s great-grandfather, Laurence Grainger Geary, who’d been a cocksman of legendary stamina, and had fathered, according to one estimate, at least two dozen bastards. His taste in mistresses had been broad. Upon his death two black women in Kentucky, sisters no less, claimed to have his children; a very well respected Jewish philanthropist in upstate New York, who had served with old man Geary on a committee for the Rehabilitation of Public Morals, had attempted suicide, and revealed in her farewell letter the true paternity of her three daughters, while the madam of a bordello in New Mexico had showed her son to the local press, pointing out how very like a Geary child he looked.
Laurence’s wife Vema had made no public response to these claims. But they took their toll on the unhappy woman. A year later she was committed to the same institution that had housed Mary Lincoln in her last years. There Verna Geary survived for a little over a decade, before making a pitiful exit from the world.
Only one of her four children (she’d lost another three in their infancy) was at all attentive to her in her failing years: her eldest daughter, Eleanor. The old woman did not care for Eleanor’s constant kindness, however. She loved only one of her children enough to beg his presence, in letter after letter, through the period of her incarceration: that was her beloved son Cadmus. The object of her affections was unresponsive. He visited her once, and never came again. Arguably Vema was the author of her own son’s cruelty. She’d taught him from his earliest childhood that he was an exceptional soul, and one of the manifestations of this specialness was the fact that he never had to set eyes on any sight that didn’t please him. So now, when he was faced with such a sight—his mother in a state of mental disarray—he simply averted his eyes.
“I want to surround myself with things that I enjoy looking at,” he told his appalled sister, “and I do not enjoy looking at her.”
What was pleasing the twenty-eight-year-old Cadmus’ senses at that time was a woman called Katherine Faye Browning—Kitty to those close to her—the daughter of a steel magnate from Pittsburgh. Cadmus had met her in 1919 and courted her fiercely for two years, during which time he had begun to work his financial genius on his father’s already considerable wealth. This was no chance collision of circumstances. The more Kitty Browning toyed with his feelings (refusing to see him for almost two months in the autumn of that year simply because—as she wrote—”I wish to see if I can live without you. If I can, I will, because that means you’re not the man who rules my heart”) the more frustrated love fueled young Cadmus’s ambition. His reputation as a financial strategist of genius—and a demonic enemy if crossed—was forged in those years. Though he would later mellow somewhat, when people thought of Cadmus Northrop Geary it was the young Cadmus they brought to mind: the man who forgave nothing.
In the process of building his empire he acted like a secular divinity. Communities dependent upon industries he purchased were destroyed at his whim, while others flourished when he looked upon them favorably. By his early middle age he had achieved more than most men dream of in a hundred lifetimes. There was no place of power in which he was not known and lionized. He influenced the passing of bills and the election of judges; he bought Democrats and Republicans alike (and left them at the mercy of their parties when he was done with them); he made great men look foolish, and—when it suited him, as it occasionally did—elevated fools to high office.
Need I tell you that Kitty Browning finally succumbed to his importunings and married him? Or add that he committed his first act of adultery—or philandering, as he preferred—while they were on their honeymoon?
A man of Cadmus’s power and influence—not to mention looks (he was built after the classic American model, his body graceful in action and easy in repose, his long, symmetrical features perpetually tanned, his eyes sharp, his smile sharper still)—a man such as this is always surrounded by admirers. There was nothing languid or dull about him; nothing that bespoke doubt or fatigue: that was the heart of his power. Had he been a better man, his sister once remarked, or a much worse one, he might have been president. But he had no interest in wasting his attributes on politics. Not when there were so many women to seduce (if seduction was the word for something so effortless). He divided his time between his offices in New York and Chicago, his houses in Virginia and Massachusetts, and the beds of some several hundred women a year, paying off irate husbands when they found out, or employing them.
As for Kitty, she had a life of her own to lead: three children to raise, and a social calendar of her own which was nicely filled. The last thing she wanted was a husband under her feet. As long as Cadmus didn’t embarrass her with his shenanigans, she was perfectly content to let him go his way.
There was only one romance—or more correctly a failed romance—that threatened this strange equilibrium. In 1926, at the invitation of Lionel Bloombury, who was then the head of a small independent studio in Hollywood, Cadmus went west. He considered himself quite the connoisseur when it came to movies, and Lionel had suggested he could do worse than invest some of his capital in the business. Indeed he would later do so; he put Geary money into Metro-Goldwyn-Mayer, and saw, during its golden years, a substantial return on his investment; he also purchased sizable parcels of land in what would later become Beverly Hills and Culver City. But the only deal he really wanted in Hollywood he failed to make, and that was with an actress called Louise Brooks. He met her first at the premiere of Beggars of Life, a Paramount picture she’d made, starring opposite Wallace Beery. She’d seemed to Cadmus an almost supernatural presence; for the first time, he’d said to a friend, he believed in the idea of Eden; of a perfect garden from which men might be exiled because of the manipulations of a woman.
The subject of this metaphysical talk, Louise herself, was without question a great beauty: her dark sleek hair cut almost boyishly to frame a pale, exquisitely sculptured face. But she was also an ambitious and intellectually astute woman, who wasn’t interested in being an objet d’art for Cadmus or anybody else. She left for Germany the next year, to star in two pictures there, one of which, Die Btichse de Pandora, would immortalize her. Cadmus was by now so enraptured that he sailed to Europe in the hope of a liaison, and it seems she was not entirely scornful of his advances. They dined together; and took day trips when her filming schedule allowed. But it seems she was dallying with him. When she went back to filming she complained to her director, a man called Pabst, that the presence of Geary on set was spoiling her concentration and could he please be removed? There was some kind of minor fracas later that week, when Cadmus—who had apparently attempted to purchase the studio that was making Die Btichse de Pandora in the interim, and failed—forced his way onto the set in the hope of talking to her. She refused to speak to him and he was forcibly removed. Three days later he was on a ship headed back