The Hours. Michael Cunningham
in continuance, knits together the green world of farms and meadows, forests and parks. Virginia moves through the park without quite walking; she floats through it, a feather of perception, unbodied. The park reveals to her its banks of lilies and peonies, its graveled paths bordered by cream-colored roses. A stone maiden, smoothed by weather, stands at the edge of a clear pool and muses into the water. Virginia moves through the park as if impelled by a cushion of air; she is beginning to understand that another park lies beneath this one, a park of the underworld, more marvelous and terrible than this; it is the root from which these lawns and arbors grow. It is the true idea of the park, and it is nothing so simple as beautiful. She can see people now: a Chinese man stooping to pick something up off the grass, a little girl waiting. Up ahead, on a circle of newly turned earth, a woman sings.
Virginia awakens again. She is here, in her bedroom at Hogarth House. Gray light fills the room; muted, steel-toned; it lies with a gray-white, liquid life on her coverlet. It silvers the green walls. She has dreamed of a park and she has dreamed of a line for her new book—what was it? Flowers; something to do with flowers. Or something to do with a park? Was someone singing? No, the line is gone, and it doesn’t matter, really, because she still has the feeling it left behind. She knows she can get up and write.
She rises from her bed and goes into the bathroom. Leonard is already up; he may already be at work. In the bathroom, she washes her face. She does not look directly into the oval mirror that hangs above the basin. She is aware of her reflected movements in the glass but does not permit herself to look. The mirror is dangerous; it sometimes shows her the dark manifestation of air that matches her body, takes her form, but stands behind, watching her, with porcine eyes and wet, hushed breathing. She washes her face and does not look, certainly not this morning, not when the work is waiting for her and she is anxious to join it the way she might join a party that had already started downstairs, a party full of wit and beauty certainly but full, too, of something finer than wit or beauty; something mysterious and golden; a spark of profound celebration, of life itself, as silks rustle across polished floors and secrets are whispered under the music. She, Virginia, could be a girl in a new dress, about to go down to a party, about to appear on the stairs, fresh and full of hope. No, she will not look in the mirror. She finishes washing her face.
When she is finished in the bathroom she descends into the dusky morning quiet of the hall. She wears her pale blue housecoat. Night still resides here. Hogarth House is always nocturnal, even with its chaos of papers and books, its bright hassocks and Persian rugs. It is not dark in itself but it seems to be illuminated against darkness, even as the wan, early sun shines between the curtains and cars and carriages rumble by on Paradise Road.
Virginia pours herself a cup of coffee in the dining room, walks quietly downstairs, but does not go to Nelly in the kitchen. This morning, she wants to get straight to work without risking exposure to Nelly’s bargainings and grievances. It could be a good day; it needs to be treated carefully. Balancing the cup on its saucer, she goes into the printing room. Leonard is sitting at his desk, reading page proofs. It is too early yet for Ralph or Marjorie.
Leonard looks up at her, still wearing, for a moment, the scowl he has brought to the proofs. It is an expression she trusts and fears, his eyes blazing and impenetrably dark under his heavy brows, the corners of his mouth turned down in an expression of judgment that is severe but not in any way petulant or trivial—the frown of a deity, all-seeing and weary, hoping for the best from humankind, knowing just how much to expect. It is the expression he brings to all written work, including, and especially, her own. As he looks at her, though, the expression fades almost immediately and is replaced by the milder, kinder face of the husband who has nursed her through her worst periods, who does not demand what she can’t provide and who urges on her, sometimes successfully, a glass of milk every morning at eleven.
“Good morning,” she says.
“Good morning. How was your sleep?”
How was your sleep, he asks, as if sleep were not an act but a creature that could be either docile or fierce. Virginia says, “It was uneventful. Are those Tom’s?”
“Yes.”
“How do they look?”
He scowls again. “I’ve found an error already, and I’m not quite through the second page.”
“One error at the beginning is quite likely just that. It’s early in the day to be so bent on irritation, don’t you think?”
“Have you had breakfast?” he asks.
“Yes.”
“Liar.”
“I’m having coffee with cream for breakfast. It’s enough.”
“It’s far from enough. I’m going to have Nelly bring you a bun and some fruit.”
“If you send Nelly in to interrupt me I won’t be responsible for my actions.”
“You must eat,” he says. “It doesn’t have to be much.”
“I’ll eat later. I’m going to work now.”
He hesitates, then nods grudgingly. He does not, will not, interfere with her work. Still, Virginia refusing to eat is not a good sign.
“You will have lunch,” he says. “A true lunch, soup, pudding, and all. By force, if it comes to that.”
“I will have lunch,” she says, impatiently but without true anger. She stands tall, haggard, marvelous in her housecoat, the coffee steaming in her hand. He is still, at times, astonished by her. She may be the most intelligent woman in England, he thinks. Her books may be read for centuries. He believes this more ardently than does anyone else. And she is his wife. She is Virginia Stephen, pale and tall, startling as a Rembrandt or a Velázquez, appearing twenty years ago at her brother’s rooms in Cambridge in a white dress, and she is Virginia Woolf, standing before him right now. She has aged dramatically, just this year, as if a layer of air has leaked out from under her skin. She’s grown craggy and worn. She’s begun to look as if she’s carved from very porous, gray-white marble. She is still regal, still exquisitely formed, still possessed of her formidable lunar radiance, but she is suddenly no longer beautiful.
“All right,” he says. “I’m going to soldier on here.”
She goes back upstairs stealthily, so as not to attract Nelly (why does she always feel so secretive around servants, so guilty of crimes?). She gets to her study, quietly closes the door. Safe. She opens the curtains. Outside, beyond the glass, Richmond continues in its decent, peaceful dream of itself. Flowers and hedges are attended to; shutters are repainted before they require it. The neighbors, whom she does not know, do whatever it is they do behind the blinds and shutters of their red brick villa. She can only think of dim rooms and a listless, overcooked smell. She turns from the window. If she can remain strong and clear, if she can keep on weighing at least nine and a half stone, Leonard will be persuaded to move back to London. The rest cure, these years among the delphinium beds and the red suburban villas, will be pronounced a success, and she will be deemed fit for the city again. Lunch, yes; she will have lunch. She should have breakfast but she can’t bear the interruption it would entail, the contact with Nelly’s mood. She will write for an hour or so, then eat something. Not eating is a vice, a drug of sorts—with her stomach empty she feels quick and clean, clearheaded, ready for a fight. She sips her coffee, sets it down, stretches her arms. This is one of the most singular experiences, waking on what feels like a good day, preparing to work but not yet actually embarked. At this moment there are infinite possibilities, whole hours ahead. Her mind hums. This morning she may penetrate the obfuscation, the clogged pipes, to reach the gold. She can feel it inside her, an all but indescribable second self, or rather a parallel, purer self. If she were religious, she would call it the soul. It is more than the sum of her intellect and her emotions, more than the sum of her experiences, though it runs like veins of brilliant metal through all three. It is an inner faculty that recognizes the animating mysteries of the world because it is made of the same substance, and when she is very fortunate she is able to write directly through that faculty. Writing in that state is the most profound satisfaction she knows, but her access