The Sea, The Sea - Iris Murdoch [46]
None of this stopped me from rather worshipping Uncle Abel and dancing around him like a pleased dog. At least I did so when I was a young child. Later, because of James, I was slightly more dignified and aloof. Was my father sometimes hurt because I found Uncle Abel so picturesque? Perhaps. This thought saddens me now as I write with a special piercing sadness. He did not care about the worldly goods, but, though he never showed it, he might have felt sorry, again for my sake, that he was so much less of a ‘figure’. My mother may have intuited some such regret in him (or perhaps to her he expressed it) and this may have contributed to the irritability which she could not always suppress when the Abel Arrowbys were mentioned, or especially when they had lately been with us on a visit. They did not in fact visit us very often, since my mother felt that we could not ‘entertain’ them in sufficient style, and would embarrass them, when they did come, with aggressive apologies concerning our humbler way of life. We, I should add, lived upon a housing estate where loneliness was combined with lack of privacy. My visits to stone-built tree-surrounded Ramsdens were usually made alone, because of my mother’s horror of being under her brother-in-law’s roof, and my father’s horror of being under any roof except his own.
I must now, in mentioning my mother, speak of Aunt Estelle. She was, as I have said, an American, though where exactly she hailed from I do not remember to have discovered; America was a big vague concept to me then. Nor do I know where or how my uncle met her. She certainly represented to me some general idea of America: freedom, gaiety, noise. Where Aunt Estelle was there was laughter, jazz music, and (how shocking) alcohol. This again might give the wrong impression. I am speaking of a child’s dream. Aunt Estelle was no ‘drinker’ and her ‘wildness’ was the merest good spirits: health, youth, beauty, money. She had the instinctive generosity of the thoroughly lucky person. She was, in a vague way, demonstratively affectionate to me when I was a child. My undemonstrative mother watched these perhaps meaningless effusions coldly, but they moved me. Aunt Estelle had a pretty little singing voice and used to chant the songs of the first war and the latest romantic song-hits. (Roses of Picardy, Tiptoe through the Tulips, Oh So Blue, Me and Jane in a Plane, and other classics of that sort.) I remember once when she came one night at Ramsdens to ‘settle me down’, her singing a song to the effect that there ain’t no sense sitting on the fence all by yourself in the moonlight. I found this very droll and made the mistake of trying to amuse my parents by repeating it. (It ain’t no fun sitting ’neath the trees, giving yourself a hug and giving yourself a squeeze.) It is probably in some way because of Aunt Estelle that the human voice singing has always upset me with a deep and almost frightening emotion. There is something strange and awful about the distorted open mouths of singers, especially women, the