Erik Dorn. Ben Hecht
enables people to boast. And it's difficult boasting in silence. And inasmuch as it's necessary to be intelligent to think, why, that sort of settles it. Ergo, people never think. Do you mind my chatter?"
"Please … "
A perfect applause this time. Her sincerity appealed to him as an exquisite mannerism. She said "Please" as if she were breathless.
"You're an entertaining listener," he smiled. "And very clever. Because it's ordinarily rather difficult to flatter me. I'm immensely delighted with your silence, whereas … " Dorn stumbled. He felt his speech was degenerating into a compliment.
"Because you tell me things I've known," the girl spoke.
"Yet I tell you nothing."
He stared for an instant at the people in the street. "Nothing" was a word his thought tripped on. He was used to mumbling it to himself as he walked alone in streets. And at his desk it often came to him and repeated itself. Now his thought murmured, "Nothing, nothing," and a sadness drew itself into his heart. He laughed with a sense of treating himself to a theatricalism.
"We haven't talked about God," he announced.
"God is one of my beliefs."
She was an idiot for frowning.
"I dislike to think of man as the product of evolution. It throws an onus on the whole of nature. Whereas with a God to blame the thing is simple."
She nodded, which was doubly idiotic, inasmuch as there was nothing to nod to. He went on:
"Life is too short for brevities—for details. I save time by thinking, if you can call it thinking, en masse—in generalities. For instance, I think of people frequently but always as a species. I wonder about them. My wonder is concerned chiefly with the manner in which they adjust themselves to the vision of their futility. Do they shriek aloud with horror in lonely bedrooms? There's a question there. How do people who are important to themselves reconcile themselves to their unimportance to others? And how are they able to forget their imbecility?"
They were walking idly as if dreamily intent upon the spectacle of the avenue. The nervous unrest that came to Dorn in streets and fermented words in his thought seemed to have deserted him. Assured of the admiration of his companion, he felt a quiet as if his energies had been turned off and he were coasting. He recognized several faces and saluted them as if overcome with a desire to relate a jest.
"Notice the men and women together," he resumed easily, almost unconscious of talking. "Observing married couples is a post-graduate course in pessimism. There's a pair arm in arm. Corpses grown together. There's no intimacy like that of cadavers. Yet at this and all other moments they're unaware of death. They move by us without thought, emotion, or words in them."
"They look very proud," she interrupted.
"It's the set expression of vacuity. Just as skeletons always seem mysteriously elate. Their pride is an absence of everything else—a sort of rigid finery they put on in lieu of a shroud. Never mind staring after them, please. They are Mr. and Mrs. Jalonick who live across the street from my home. I dislike staring even after truths. Listen, I have something more to say about them if you'll not look so serious. Your emotions are obviously infantile. I can give you a picture of marriage: two little husks bowing metronomically in a vacuum and anointing each other with pompous adjectives. Draw them a little flattened in the rear from sitting down too much and you'll have a masterpiece. It's amusing to remember that Mr. and Mrs. Jalonick were once in love with each other!" Dorn laughed good-naturedly. "Fancy them on a June night ten years ago before their eyes had become cotton, holding hands and trying to give a meaning to the moon. Are you tired?"
"No, please. Let's walk, if you haven't anything else to do."
"Nothing." It was the seventh anniversary of his marriage. An annoying thought. "You're an antidote for inertia. I marvel, as always, at my garrulity. Women usually inspire me with a desire to talk. I suppose it's a defensive instinct. Talk confuses women and renders them helpless. But that isn't it. I talk to women because they make the best sounding-boards. Do you object to being reduced to an acoustic? Yes, sex is a sort of irritant to the vocabulary. It's amusing to converse profoundly with a pretty woman whose sole contributions to any dialogue are a bit of silk hose and an oscillation of the breasts."
"You make me forget I'm a woman and agree with you."
"Because you're another kind of woman. The reflector. Or acoustic. I prefer them. I sometimes feel that I live only in mirrors and that my thoughts exist only as they enter the heads of others. As now, I speak out of a most complete emptiness of emotion or idea; and my words seem to take body in your silence—and actually give me a character."
"I always think of you as someone hiding from himself," she answered. Dorn smiled. They were old friends—a union between them.
"There's no place of concealment in me," he said after a pause. He had been thinking of something else. "But perhaps I hide in others. After talking like this I come away with a sort of echo of what I've said. As if someone had told me things that almost impressed me. I talk so damned much I'm unaware of ever having heard anybody else but myself express an opinion. And I swear I've never had an opinion in my life." He became silent and resumed, in a lighter voice, "Look at that man with whiskers. He's a notorious Don Juan. Whiskers undoubtedly lend mystery to a man. It's a marvel women haven't cultivated them—instead of corsets. But tell me why you've disdained art as an ideal. You're curious. It's a confessional I should think would appeal to you. I'm almost interested in you, you see. Another hour with you and you would flatter me into a state of silence."
Dorn paused, somewhat startled. Her dark lips parted, her eyes glowing toward the end of the street, the girl was walking in a radiant abstraction. She appeared to be listening to him without hearing what he said. Dorn contemplated her confusedly. He frowned at the thought of having bored her, and an impulse to step abruptly from her side and leave became a part of his anger. He hesitated in his walking and her fingers, timorous and unconscious of themselves, reached for his arm. He wondered with a deeper confusion what she was dreaming about. Her hand as it lay on his forearm gave him a sense of companionship which his words sought clumsily to understand.
"I was saying something about art when you fell asleep," he smiled.
Rachel threw back her head as if she were shaking a dream out of her eyes.
"I wasn't asleep," she denied. They moved on in the increasing crowd.
"Men and women," Dorn muttered. "The street's full of men and women going somewhere."
"Except us," the girl cried. Her eyes, alight, were thrusting against the cold, amused smile of his face. He would be late. Anna would be waiting. An anniversary. Anniversaries were somehow important. They revived interest in events which had died. But it was nice to drift in a crowd beside a girl who admired him. What did he think of her? Nothing … nothing. She seemed to warm him into a deeper sleep. It was a relief to be admired for one's silence. Admired, not loved. Love was a bore. Anna loved him, bored him. Her love was an applause that did not wait for him to perform—an unreasonable ovation.
He looked at the girl again. She was walking beside him, vivid eyes, dark lips—almost unaware of him, as if he had become a part of the dream that lived within her.
CHAPTER V
When she was a child she used to see a face in the dark as she was falling asleep. It was crude and misshapen, and leered at her, filling her heart with fear. Later, people had become like that to her.
When she was eighteen Rachel came to Chicago and studied art at an art school. She learned nothing and forgot nothing. She read books in English and in Russian—James, Conrad, Brusov, Tolstoi. Her reading failed to remove her repugnance to the touch of life. Instead, it lured her further from realities. She did not like to meet