Sophie's Choice - William Styron [274]
It was like old times again. The daily routine began anew as if nothing had ever happened—as if Nathan’s violent furor had not come close to wrecking once and for all our tripartite camaraderie and happiness. It was September now, with the heat of summer still hovering over the sizzling streets of the borough in a fine, lambent haze. Each morning Nathan and Sophie took their separate subway trains at the BMT station on Church Avenue—he to go to his laboratory at Pfizer, she to Dr. Blackstock’s office in downtown Brooklyn. And I returned happily to my homely little oaken writing desk. I refused to let Sophie obsess me as a love object, yielding her up willingly again to the older man to whom she so naturally and rightfully belonged, and acquiescing once more in the realization that my claims to her heart had all along been modest and amateurish at best. Thus, with no Sophie to cause me futile woolgathering, I got back to my interrupted novel with brisk eagerness and a lively sense of purpose. Naturally, it was impossible not to remain haunted and, to some extent, intermittently depressed over what Sophie had told me about her past. But generally speaking, I was able to put her story out of my mind. Life does indeed go on. Also, I was caught up in an exhilaratingly creative floodtide and was intensely aware that I had my own tragic chronicle to tell and to occupy my working hours. Possibly inspired by Nathan’s financial donation—always the most bracing form of encouragement a creative artist can receive—I began to work at what for me has to be described as runaway speed, correcting and polishing as I went, dulling one after another of my Venus Velvet pencils as five, six, seven, even eight or nine yellow sheets became piled on my desk after a long morning’s work.
And (totally aside from the money) Nathan returned once more to that role of supportive brother-figure, mentor, constructive critic and all-purpose cherished older friend whom I had so looked up to from the very beginning. Again he began to absorb my exhaustively worked-over prose, taking the manuscript upstairs with him to read after several days’ work, when I had acquired twenty-five or thirty pages, and returning a few hours later, usually smiling, almost always ready to bestow upon me the single thing I needed most—praise—though hardly ever praise that was not modified or honestly spiced by a dollop of tough criticism; his eye for the sentence hobbled by an awkward rhythm, for the attitudinized reflection, the onanistic dalliance, the less than felicitous metaphor, was unsparingly sharp. But for the most part I could tell that he was in a straightforward way captivated by my dark Tidewater fable, by the landscape and the weather which I had tried to render with all the passion, precision and affection that it was within my young unfolding talent to command, by the distraught little group of characters taking flesh on the page as I led them on their anxiety-sick,