Across the Bridge - Mavis Gallant [64]
He left the grave and the sea and started back to the walled city. He thought of other violations and of the filth that can wash over quiet lives. In the dark afternoon the lighted windows seemed exclusive, like careless snubs. He would write to his friend, “I wondered what I was doing there, looking at other people’s windows, when I have a home of my own.” The next day he changed his train reservation and returned to Paris before the week was up.
Magda recognized him but did not know he had been away. She asked if he had been disturbed by the neighbor who played Schubert on the piano all night long. (Perhaps the musician existed, he sometimes thought, and only Magda could hear him.) “You must tell him to stop,” she said. He promised he would.
Mme. Carole Fournier, Customers’ Counselling Service, turned out to be an attractive young woman, perhaps a bit thin in the face. Her hollow cheeks gave her a birdlike appearance, but when she turned to the computer screen beside her desk her profile reminded him of an actress, Elzbieta Barszczewska. When Barszczewska died, in her white wedding dress, at the end of a film called The Leper, the whole of Warsaw went into mourning. Compared with Barszczewska, Pola Negri was nothing.
The plastic rims of Mme. Fournier’s glasses matched the two red combs in her hair. Her office was a white cubicle with a large window and no door. Her computer, like all those he had noticed in the bank, had a screen of azure. It suggested the infinite. On its cerulean surface he could read, without straining, facts about himself: his date of birth, for one. Between white lateral blinds at the window he observed a bakery and the post office where he bought stamps and sent letters. Hector, tied to a metal bar among chained and padlocked bikes, was just out of sight. Had the window been open, one might have heard his plaintive barking. M. Wroblewski wanted to get up and make sure the dog had not been kidnapped, but it would have meant interrupting the charming Mme. Fournier.
She glanced once more at the blue screen, then came back to a four-page questionnaire on her desk. He had expected a welcome. So far, it had been an interrogation. “I am sorry,” she said. “It’s my job. I have to ask you this. Are you sixty-six or over?”
“I am flattered to think there could be any doubt in your mind,” he began. She seemed so young; his voice held a note of teasing. She could have been a grandchild, if generations ran as statistics want them to. He might have sent her picture to his friend in Warsaw: red combs, small hands, zodiac (Gemini) medallion on a chain. Across the street a boy came out of the bakery carrying several long loaves, perhaps for a restaurant. She waited. How long had she been waiting? She held a pen poised over the questionnaire.
“I celebrated my sixty-sixth birthday on the day General de Gaulle died,” he said. “I do not mean that I celebrated the death of that amazing man. It made me very sorry. I was at the theatre, with my wife. The play was Ondine, with Isabelle Adjani. It was her first important part. She must have been seventeen. She was the toast of Paris. Lovely. A nymph. After the curtain calls, the director of the theatre walked on, turned to the audience, and said the President was dead.” She seemed still to be waiting. He continued, “The audience gasped. We filed out without speaking. My wife finally said, ‘The poor man. And how sad, on your birthday.’ I said, ‘It is history.’ We walked home in the rain. In those days one could walk in the street after midnight. There was no danger.”
Her face had reflected understanding only at the mention of Isabelle Adjani. He felt bound to add, “I think I’ve made a mistake. It was not President de Gaulle after all. It was President Georges Pompidou whose death was announced in all the theatres of Paris. I am not sure about Adjani. My wife always kept theatre programs. I could look it up, if it interests you.”
“It’s about your being