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Overview
Author Biography: Michèle Roberts is the author of several acclaimed novels, including her most recent book, The Looking Glass. She divides her time between London and northern France.
Product Details
| ISBN-13: | 9781853816000 |
|---|---|
| Publisher: | Virago Press, Limited |
| Publication date: | 08/02/2001 |
| Edition description: | UK ed. |
| Pages: | 194 |
| Product dimensions: | 5.06(w) x 7.81(h) x 0.41(d) |
About the Author
Michèle Roberts divides her time between London and northern France. She is the author of several acclaimed novels, including The Looking Glass.
Read an Excerpt
Daughters of the House
By Michèle Roberts
Picador
Copyright © 1992 Michèle RobertsAll rights reserved.
ISBN: 978-0-312-42038-3
CHAPTER 1
The Wall
It was a changeable house. Sometimes it felt safe as a church, and sometimes it shivered then cracked apart.
A sloping blue slate roof held it down. Turrets at the four corners wore pointed blue hats. The many eyes of the house were blinded by white shutters.
What bounded the house was skin. A wall of gristle a soldier could tear open with his bare hands. Antoinette laughed. She was buried in the cellar under a heap of sand. Her mouth was stuffed full of torn-up letters and broken glass but she was tunnelling her way out like a mole. Her mouth bled from the corners. She laughed a guttural laugh, a Nazi laugh.
The house was strict. The rules indicated the forbidden places. Chief of these was the bedroom at the back on the first floor, at the top of the kitchen stairs.
The rules said you mustn't go there. It was for your own protection. Each time Léonie tried she had to halt. The terror was so strong. It pushed her away, wouldn't let her come near. Behind the terror was something evil which stank and snarled and wanted to fix her in its embrace. Better to flee, to clatter back across the bare plank floor of the landing, find the headlong stairs and fall down them. Better to stay at the front of the house.
Antoinette was dead, which was why they had buried her in the cellar. She moved under the heap of sand. She clutched her red handbag, which was full of shreds of dead flesh. She was trying to get out, to hang two red petticoats on the washing-line in the orchard. Sooner or later she would batter down the cellar door and burst up through it on her dead and bleeding feet.
The deadness and the evil and the stink were inside Léonie. She rushed up the cellar steps, magically she erupted into her own bed in the dark, the smell of warm blood, soaked sawdust.
Now she was properly awake. She ran to the bathroom to be sick. It was Thérèse she was throwing up. She vomited her forth, desperate to be rid of her and then weak with gasping relief that she was gone.
CHAPTER 2The Writing-Table
Léonie was waiting for Thérèse to arrive. She longed for her, like a lover. Her mind bristled with knives. She imagined the edge of the blade, silvery and saw-toothed. Its tip vanishing into Thérèse's soft flesh.
She could not settle. She paced up and down the corridor in which things had stood in their places since long before she was born. The little buttoned armchair in worn pink brocade. The two porcelain jars, plump dragons, that guarded the writing-table. The mirror with its broken-pediment frame. The strip of silk carpet, bald in places, frayed.
These items her eyes checked one by one. They were hers. As the house was. Hers to dispose of as she wished and thought proper. She would not share them with Thérèse. She had cared for the house, spent her money on it, kept it in good repair. All these years of tending it meant that it was hers.
This morning she had begun listing the house contents in the inventory her lawyer had suggested she draw up. But she was too excited to go on. She would continue with her task once Thérèse had arrived and settled in. She wondered how long she ought to wait before asking Thérèse about her plans. She promised herself to be very tactful, very discreet.
The writing-table stood against the wall, facing it, halfway down the corridor which ran, on the first floor, along the back of the house. Antoinette, in the days when she was well enough, had sat here to write notes of invitation, letters to her sisters. Madeleine, and then Léonie, had gone on using her pen, blue ink, leather-bound blotter. Léonie perched here, on the curvy-backed chair with a tapestry seat, to do her accounts. And now the inventory.
The mirror opposite her flickered a warning. Which of us is which? For twenty years she had cohabited peacefully with her reflection, peering at it to check that she'd got what she thought she'd got. Yes, she existed, the mirror told her over those years: with her smooth surface, fresh gilding, only a little tarnish. Now that other one was turning up, to disrupt her steady gaze.
When she looked at Thérèse, what would she see? She supposed they had both aged. If she smashed her fist into Thérèse's face, would she hear the crack and splinter of glass? She wondered whether Thérèse's sheltered life had kept her looking young. When they were both sixteen she had been pleased to make comparisons. She had better legs than Thérèse, a sharper clothes sense, a more fashionably slender body. When Thérèse arrived she would be able to carry on that old war.
Up and down she paced. She liked the sound of her footsteps measuring the long silence of the corridor. As she liked the fact that the corridor had doors at both ends, represented both pause and process. Was not a room but was between rooms. Both connected and separated them.
When you came up the curve of the oval staircase on to the first floor, you arrived in a hallway set with doors half-concealed in grey panelling. Opening the furthest on the left, you passed into a second, tiny, hall, off which opened Antoinette's old bedroom and the bathroom. A third grey-painted door, part of the panelling like all the others, led out of this little lobby into the corridor.
Thérèse would remember which door was which. She would not arrive, as Léonie still did in her dreams, as a stranger, confused by the labyrinth that was the house, discovering the corridor at the back as a surprise. Thérèse would walk into the house as her birthright, the place she'd lived in all through her childhood. She would see Léonie as the usurper, Léonie as the one who stole what was not hers to inherit. Thérèse the prodigal would return wanting everything.
Would Thérèse remember the room at the other end of the corridor, and what it had once held? Did she ever dream of trying to walk into it in the dark? Did she ever wake, in a thrash of sweat, trembling and clenched, in her bed that for twenty years had been safely foreign and far away?
Léonie found that she was downstairs, in the centre of the kitchen. A rack of knives hung on the wall near the hood of the fireplace. Symmetry of thick black handles implanted with thin blades, razor fine. In English, she remembered explaining to Thérèse once: wicked could mean sharp. There was a gap in the row of knives. Léonie looked down, puzzled, at her hands. She discovered she was testing the tip of the vegetable knife, the ancient one with the ragged edge, against her thumb. She raised it. She divided the air in two. Then she let the knife drop on to the kitchen table.
She felt dizzy. As though Thérèse were already here and they were children again, playing that game of spinning on one spot with arms outstretched, seeing who could twirl longest and not fall.
CHAPTER 3The Doorbell
Thérèse arrived by bus. She insisted that she did not want to be met. I'm quite capable of walking, she told Léonie over the phone: I've still got the use of my legs, you know, and my brain, I haven't forgotten the way.
No scenes in public, was what she meant. Not that she expected Léonie to fall on her neck and call for the fatted calf to be slain. But she felt raw, as though she'd been flayed, all her old customs and gestures stripped off along with the brown dress she'd worn for twenty years. She didn't want to stand out, or be recognized. She would slink into the village anonymous and discreet. She would cover her face until she was ready to show it. She asked Léonie not to tell people she was coming back. No fuss. Let them find out in the ordinary course of things. To herself she added: when I've decided exactly what it is I must do.
The bus plunged along the banks of the Seine. Thérèse remembered strings of ancient houses, black and cream displays of timbering, plaster, thatch. The great flat river sliding between cliffs. A calm green emptiness which turned in spring to a pink carnival of flowering orchards. How many new houses there were now, how very tidy and rebuilt everything seemed. Restored, that was the word one used. Corrected. Freshened.
She felt peculiar. It was her clothes, she decided. Her knees exposed by the skirt of her dress riding up when she sat down. Her legs, nude in fawn nylons. Her general sense of skimpy coverings, of being too visible. In the bus she was a focus for others' glances, however casual, and she resented it.
When at Caudebec a couple of Algerian men got on to the bus Thérèse stared at them. Black people didn't live in the green Norman countryside. Surely they all lived in ghettoes on the outskirts of cities.
Mutters from the other passengers reached her.
A bad lot, I'm afraid, always looking for trouble.
Far too many of them coming in.
Thérèse turned her head aside and gazed out of the window. Billboards hoisted posters in Gothic lettering that advertised ancient inns, traditional cider and Calvados, authentic butter and cheese. Grandmother's this and that, everything from pine furniture to apricot jam. The signs all pointed somewhere else: over there; that's the real thing. Then the bus jolted around a sharp corner with a blare of its horn and they swept into Blémont's little main street.
The bus-stop, just as in the old days, was the area of pavement outside the Mairie. This florid building was now painted salmon pink, no longer the faded grey that Thérèse remembered. She shrugged, watching the bus depart, backside of blue glass farting exhaust. She stooped to pick up her bags.
At the top of the street behind her was the village church. Beyond it, the cemetery, and the family grave. Her mother was buried there under a slab of polished granite, and her father, and his second wife Madeleine. In a far corner, separated from the fields beyond by a high wall, was the grave of Henri Taillé. His bones had been found eventually and brought here, and the tangle of bones of the unknown Jews buried with him. The shallow pit had opened and given them up. She wondered whether she should go there now, to see for herself what she had read about in the newspaper. The grave newly opened and desecrated, swastikas in red daubed on the tombstone. The church bells tolling gently decided her. She didn't want to be seen by the people turning out for early-evening Mass. She'd visit the cemetery in the morning. She would go very early, before anyone was about, and check the evidence with her own eyes.
She crossed the road, to take the turning that led off between the chemist's and the blacksmith's. Oh. There was no longer a blacksmith's. And the chemist's window, which used to contain antique apothecary pots in vieux Rouen porcelain, was now full of strip-lit placards of naked women scrubbing their thighs with green mittens. What was cellulite? Thérèse walked on.
She told herself that she was calm. That she was on the right road. That her feet did recognize its bends and loops. There was a pavement now, streetlamps and bus-shelters on this stretch, signs warning of sharp corners, an old people's home. The old school had been knocked down and a new one, prefab style, built in its place, next to an asphalt playground. Only half a kilometre on did the countryside as she remembered it burst upon her. She smelled grass, wet earth, manure. She saw tall poplars and beech trees flicker like feathers as the wind stirred them. She recognized the profiles of familiar barns.
The tall white wrought-iron gates stood open. Beyond them the little white manor-house floated in its courtyard of white gravel. The long lawn at one side was still surrounded by beds of silvery and white flowers. The massive cedar at its far end still looked like part of a stage-set. Thérèse gripped her bags more firmly and went forward.
Even though it was late afternoon there were no lights on in the house. Everything was still. As though Léonie had gone away. The windows did not blaze yellow as Thérèse wanted them to, did not burn, flags of welcome to herself, weary traveller, sister returning from exile. She trod across the gravel and pressed the white enamel doorbell under the little wrought-iron and glass porch. Light came on behind the long glass panels of the door. Someone wrenched it open from inside. It scraped and squeaked on the tiled floor of the hall, just as it always had. A woman with angry eyes under a shining fringe peered out. It was Léonie.
CHAPTER 4The Chandelier
The chandelier was made of metal twisted into leaves painted pale green. These twined about sprays of flowers, red stars with yellow hearts. Nestling in this hard wreath were improbable fruits, lemon-coloured globes of glass. The chandelier hung from one of the white iron struts that crisscrossed, in arches, the roof of the little conservatory at the back of the house. Thérèse, coming into it, was reminded of the railway station where she had broken her journey earlier that day: the draughty cold, the glass-and-metal-domed roof, the shadowy corners. Then Léonie, beside her, put out a hand and depressed a switch and the circlet of glass lemons dangling above their heads sprang into vibrant colour, gleamed out in yellow.
Chill struck up into Thérèse's feet from the grey tiles, speckled with red, that she stood on. Cold prickled inside her nose, around her neck and wrists. She tucked her hands into the sleeves of her cardigan, regretting having let Léonie take her coat. Why did Léonie choose to sit here of all places? Shivering, she looked about. The old wicker armchairs, their red and black paint almost completely worn off, still surrounded the wicker table. Scarlet and pink geraniums were rampant on all sides, just as they used to be. She snuffed up their rough fragrance. What was new was the plethora of vases, standing on every available surface, stuffed with sheaves of wheat, oats and barley. Someone had been busy transforming some of these into corn plaits and twists, which hung from the shelves supporting the geranium pots. The straw stalks were pale and glossy, woven into their ridged patterns by an obviously expert hand. Had Léonie taken up making corn dollies?
Light from the chandelier fell on Léonie's fair hair, two walls of satin that dropped exactly to jaw level. She wore black linen trousers, a brown silk polo-neck, expensively narrow shoes. Léonie was nearly forty, her blue eyes nested in crow's-feet and wrinkles, and she was a lot plumper than formerly. But there was something childish about her that made her seem younger than she was. Good skin, thought Thérèse: good legs. Why does that matter so much?
It always had. The right body, right clothes, right way of talking, of attracting and pleasing others: Thérèse hadn't had it. No, she thought: something much deeper, inside, that I felt I lacked, I didn't know what it was. Femininity? Not a real woman like the others? Had Léonie ever felt that?
She felt Léonie's eyes scamper over her. Now she would have to compete. She couldn't bear Léonie to see her in these ugly clothes she'd been given to come home in. Pale blue synthetic-stuff dress with ill-matching blue cardigan, navy court shoes that pinched. She wrapped her arms around herself and glared at a corn wreath twined with gold ribbon.
Oh those, Léonie chattered with a wave of her hand: leftover decorations for the harvest festival. It's tomorrow. I told you the date in my letter, remember? You'll see tomorrow, in church, the decorations are wonderful. Baptiste thinks it's important to keep up the old crafts. He says we mustn't let the old Norman traditions die out. You of all people should agree with that.
Thérèse shrugged, not knowing what to reply. She felt rusty. Not used to sociability. She glanced upwards for inspiration.
I'm glad you've still got the chandelier, she said: I remember when Papa put that up. He brought it back from Italy, he and Maman.
Of course I've still got it, Léonie said: why on earth would I want to get rid of it? Everything in this house that's old, that belonged to our family, is precious to me. I'd never get rid of anything.
So much anger prickled in the air between them that they took a step away from each other. Thérèse's feet fizzed. There was a tremor in her knees.
In a hurry Léonie said: Let's have a drink. We'll have supper later. I'll go and get some ice. Will you fetch the bottle and glasses? You know where they're kept. You know where the buffet is.
(Continues...)
Excerpted from Daughters of the House by Michèle Roberts. Copyright © 1992 Michèle Roberts. Excerpted by permission of Picador.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
Contents
Title Page,Copyright Notice,
Dedication,
Author's Note,
The Wall,
The Writing-Table,
The Doorbell,
The Chandelier,
The Buffet,
The Bed,
The Holdall,
The Grey Silk Nightshirt,
The Photographs,
The Biscuit Tin,
The Ivory Ring,
The Baby Book,
The Night-Light,
The Basket,
The Carpets,
The Recipe Book,
The Cellar Key,
The Red Suitcase,
The Sofa,
The Sack,
The Altar,
The Dark Glasses,
The Soap-Dish,
The Frying-Pan,
The Pillows,
The Statue of the Virgin,
The Camp-Bed,
The Coffee Bowls,
The Bread-Basket,
The Quimper Dish,
The Dustpan,
The Oranges,
The Green Scarf,
The Water-Bottle,
The Rosary,
The Cake Tin,
The Package,
The Ironing-Board,
The Onyx Ashtray,
The Fish-Kettle,
The Dust,
The Blue Skirt,
The Slotted Spoon,
The Washing-Up Bowl,
The Vase,
The Cigarette,
The Statue,
The Cigarette Lighter,
The Alarm Clock,
The Words,
Copyright,