The Marriage of Opposites
Page 121
“Here? Can’t it wait?” It had been a long journey due to weather and tides, and the funeral had been a sorrow, and then last night he’d found himself haunted by the heat and the slapping of insects against the windows.
Still his mother insisted. “I want to see what you’ve been doing for two years.”
Camille slid the latch over, then threw open the lid. There were twenty of his paintings, alongside countless sketches of the beaches where he’d set up house with Melbye, if a cooking pot and two cups could be considered home. There were drawings of the women he had been with, and several views of the harbor he most admired from a little fishing village where people called him le Français. He and Melbye both had aliases, which made them chuckle, most especially because Pizzarro wasn’t French but Creole. They were oddities wherever they went, their hands covered with paint and charcoal, two tall, gawky men who liked to drink and laugh and meet women. But Camille took his painting more and more seriously. He could barely be drawn away from his work. He used so many shades of purple and gray when painting landscapes that Melbye had laughed and called him color-blind. “Do you need glasses, my friend?” he’d said. But in the end, Fritz had become his champion. Perhaps it was his rendering of the gold stars in a painted night so black that every tree and shrub was black as well. Melbye had come to understand that his friend saw what others did not. If the bark of a tree was gray at twilight, and the foliage purple, then so be it.
“I see you did a great deal of work,” Rachel said as she examined the contents of the trunk. “If art can be said to be that.” She threw a look at her son, and he shrugged, annoyed.
“It’s a calling,” he said. “Whether or not you wish to think of it as work is entirely up to you.”
“And how do you think of it?”
She had sharp black eyes, a bird’s eyes. Nothing escaped her. Or perhaps every mother could tell when her son was being forthright. Therefore he told the truth.
“I think of it as salvation.”
Rachel had begun to lift a painting from the trunk. It was a study of a harbor, filled with ships. There was a cloudiness to it, as if the seascape had been viewed through a mist. On the day Camille had begun it, he’d worked so feverishly he’d fallen ill and still he could not stop. “I’ll take this one.” She motioned for him to close the trunk and held the painting close.
“Will you?” He laughed. “Since when do you think I can paint? You told me to put it aside. You said none of it looked right.”
“I never said you couldn’t paint. I said I didn’t want you to. Now, it’s clear it doesn’t matter what I say.”
They had begun to walk toward Dronningens Gade, up to the steps where the werewolves were said to be tricked out of catching runaway slaves when they stumbled in the place where the hundredth step should be. Camille continued to be confused. He would have expected his father to have come to help him with his luggage at the harbor, not Madame Pizzarro. He dragged the trunk behind him. His arm was aching. He was sweating through his clothes, and he knew he looked like a man for hire found at the wharf. His mother carried her painting though it was quite cumbersome. She was clearly stronger than she looked, and she took the steps as if she were still a girl. He supposed the painting was hers if she wanted it; still, he wondered what it was that made her choose it.
WHEREAS SHE KEPT THE painting of Jestine in her bedchamber, so that few had seen it, she hung the new painting in the parlor, on the wall above the settee. People noticed. How could they not? It was so unusual, a dreamscape as much as a seascape. Something quite unusual, an image you couldn’t look away from. Some of Camille’s older Petit brothers had laughed at how unreal it seemed, but his eldest sister, Hannah, was entranced. When she came for a visit one afternoon she studied the painting for some time, then said, “I had no idea of what true talent you had.”
Camille, embarrassed by his sister’s attentions, thanked her, then shook his head. “I don’t know why our mother wanted it. She doesn’t like art, does she? And certainly she doesn’t like mine.”
“You’re wrong,” his sister said.
Hannah believed she could remember the day Rachel became her mother, or perhaps it was only that Rosalie had told her about that meeting so many times it was fixed in her mind. She’d been a tiny baby, but young children could recall more than people suspected. She knew that Rosalie was preparing lime chicken soup, and that Rachel had held her and called her a bluebell, then had sung her to sleep. Hannah often visited Rosalie on Sundays. She liked to hear stories not only about her two older brothers, both serious men in near middle age now; and her father, Isaac; but also about her first mother, the one who refused to die until she was safely named so that Lilith would not summon her. Sometimes Rachel would read to Hannah’s children from her notebook, stories which held them rapt with wonder.
Still his mother insisted. “I want to see what you’ve been doing for two years.”
Camille slid the latch over, then threw open the lid. There were twenty of his paintings, alongside countless sketches of the beaches where he’d set up house with Melbye, if a cooking pot and two cups could be considered home. There were drawings of the women he had been with, and several views of the harbor he most admired from a little fishing village where people called him le Français. He and Melbye both had aliases, which made them chuckle, most especially because Pizzarro wasn’t French but Creole. They were oddities wherever they went, their hands covered with paint and charcoal, two tall, gawky men who liked to drink and laugh and meet women. But Camille took his painting more and more seriously. He could barely be drawn away from his work. He used so many shades of purple and gray when painting landscapes that Melbye had laughed and called him color-blind. “Do you need glasses, my friend?” he’d said. But in the end, Fritz had become his champion. Perhaps it was his rendering of the gold stars in a painted night so black that every tree and shrub was black as well. Melbye had come to understand that his friend saw what others did not. If the bark of a tree was gray at twilight, and the foliage purple, then so be it.
“I see you did a great deal of work,” Rachel said as she examined the contents of the trunk. “If art can be said to be that.” She threw a look at her son, and he shrugged, annoyed.
“It’s a calling,” he said. “Whether or not you wish to think of it as work is entirely up to you.”
“And how do you think of it?”
She had sharp black eyes, a bird’s eyes. Nothing escaped her. Or perhaps every mother could tell when her son was being forthright. Therefore he told the truth.
“I think of it as salvation.”
Rachel had begun to lift a painting from the trunk. It was a study of a harbor, filled with ships. There was a cloudiness to it, as if the seascape had been viewed through a mist. On the day Camille had begun it, he’d worked so feverishly he’d fallen ill and still he could not stop. “I’ll take this one.” She motioned for him to close the trunk and held the painting close.
“Will you?” He laughed. “Since when do you think I can paint? You told me to put it aside. You said none of it looked right.”
“I never said you couldn’t paint. I said I didn’t want you to. Now, it’s clear it doesn’t matter what I say.”
They had begun to walk toward Dronningens Gade, up to the steps where the werewolves were said to be tricked out of catching runaway slaves when they stumbled in the place where the hundredth step should be. Camille continued to be confused. He would have expected his father to have come to help him with his luggage at the harbor, not Madame Pizzarro. He dragged the trunk behind him. His arm was aching. He was sweating through his clothes, and he knew he looked like a man for hire found at the wharf. His mother carried her painting though it was quite cumbersome. She was clearly stronger than she looked, and she took the steps as if she were still a girl. He supposed the painting was hers if she wanted it; still, he wondered what it was that made her choose it.
WHEREAS SHE KEPT THE painting of Jestine in her bedchamber, so that few had seen it, she hung the new painting in the parlor, on the wall above the settee. People noticed. How could they not? It was so unusual, a dreamscape as much as a seascape. Something quite unusual, an image you couldn’t look away from. Some of Camille’s older Petit brothers had laughed at how unreal it seemed, but his eldest sister, Hannah, was entranced. When she came for a visit one afternoon she studied the painting for some time, then said, “I had no idea of what true talent you had.”
Camille, embarrassed by his sister’s attentions, thanked her, then shook his head. “I don’t know why our mother wanted it. She doesn’t like art, does she? And certainly she doesn’t like mine.”
“You’re wrong,” his sister said.
Hannah believed she could remember the day Rachel became her mother, or perhaps it was only that Rosalie had told her about that meeting so many times it was fixed in her mind. She’d been a tiny baby, but young children could recall more than people suspected. She knew that Rosalie was preparing lime chicken soup, and that Rachel had held her and called her a bluebell, then had sung her to sleep. Hannah often visited Rosalie on Sundays. She liked to hear stories not only about her two older brothers, both serious men in near middle age now; and her father, Isaac; but also about her first mother, the one who refused to die until she was safely named so that Lilith would not summon her. Sometimes Rachel would read to Hannah’s children from her notebook, stories which held them rapt with wonder.
