That Other Eveline

  • a short story

That Other Eveline pic

I went into that place to pass some time but I really know that I went into that place to see if a man will look at me in that kind of way. You know the way I mean. I know I’m pretty and people keep saying it so I know but when I look in the mirror I see someone completely different. That doesn’t bother me because I’ve heard my own voice out of a recording machine and I didn’t sound like me either but people say that’s you Eveline so I know it’s me at the same time that I don’t know, but I do, that it’s my voice, my reflection. That’s how I’ve learnt to distrust what I see and hear. It isn’t rocket science. Anyway in I go and I’m aware that my hips are doing this kind of sway-y sexy thing that I don’t remember telling them to do but they are doing it alright and so I add a smile and a shoulder thing to boot. Then as I’m easing my arse onto a bar-stool like I’m turning over a plump apple cheek in a pan of frothy butter I think where did I learn to do this, but I’m not doing it for somebody! No. It’s just me walking and sitting. Yeah, right. I’m doing it for everybody, you stupid dipstick. Yet I’m just sitting here minding my own business but I’m aware that there are a lot of eyes on me, heads full of eyes, but I’m not doing anything, I’m not saying anything, I’m not given anyone the look. I say this to myself and at the same time I know it’s the truth; I also know it’s a lie but nobody knows that because nobody’s a mindreader; but then again it’s that other Eveline I have to mind. That voice of hers so soft and butter-wouldn’t-melt that I usually slip and thoughts and words like all-sorts fall out. 

I usually order a G&T because that’s what I like to drink but tonight I order a margarita. I like them too but they’re too expensive for me but at the same time as I’m saying to myself let’s have a margarita that other voice is also saying to myself you just hope some nice man will pay for it come the adding up time. 

And speaking of nice, it isn’t long before I can feel a dislocation in the air all around and I’m aware there’s a man sitting next to me. I don’t look up in case they see something that isn’t there but I can feel him folding his arms on the bar and resting his head with his eyes to the side looking at me like a boy does when he wants something he’s not allowed, something from his mum. He says something and so I have to look and I have to smile, it’s what I’ve been taught, and I know then, as clear as I know I’m sitting on it; I know what’s going to happen this night. He has a nice face, what I can see of it. He looks like a nice man. 

Now there’s a phrase, a nice man. I truly believe that they exist but something happens to nice men when they think that your look says something you don’t want it to say, when you know damn well they’re right but there’s that no-mindreader evidence again and so I sit there and sip my drink with my arms held in tight so my tits bulge like water wings. I’m just sitting having a drink. 

He asks me about my work and I tell him I’m a lab assistant in a research station, which is true. He says I don’t look like a lab assistant and I say of course I don’t, I’m not wearing my lab coat. Nice doesn’t necessarily mean smart.

You can tell by the look in their eyes, they’re looking at your face as if that’s the cause of it all, but it’s not really it’s what’s under my clothes and between my legs that they’re thinking about. What are they thinking about exactly? Are they picturing it in their mind’s eye? Funny isn’t it: it’s not what they see but what they can’t see that sends the blood racing into the dead-end making them touch their crotch or are they egging it on? So it’s all up to what they think is there. Then I suppose one vagina is very much like another, yeah, but it’s always the baubles and the arrangement of the icing on top that marks the difference between a cake and a tart. 

Like him his room is nice. Comfortable. Warm light, lots of books with a neatly made bed through an innocent-looking doorway. He offers me a drink. I agree to a G&T this time. Perhaps it will settle that feeling in the pit of my stomach, like a flapping fish gasping for air, like a hunger, like an ache. Of course, he puts on some soft music. I want to laugh, he’s seen too many set-up videos and I think how did I get here like a helicopter dropping rations to starving refugees. I was somewhere else and now I’m here. The other one tells me to relax, enjoy it. It’s nice. Nice.

We don’t make it to the neatly made bed. I wonder sometimes which voice is really me. It’s confusing. I sometimes hear myself saying stuff that I’d swear was coming from someone else. I didn’t say anything when he said he was only thinking of me. He refused a condom and so turned me over. What could I say to a nice man’s consideration? At least the pain stopped that fish flapping in my guts.

I don’t know how I got to the hospital and thought of the helicopter again but that’s when I met Rhonda. She told me she was a police officer. I said she didn’t look like a police officer. She said she was off duty and held my hand and tried to get me to remember what happened. I didn’t want to tell her because well because I wasn’t sure which voice to use or more accurately which voice would come out. She asked a lot of questions but I wasn’t very helpful. I didn’t know his name the other one said I couldn’t remember I never asked. I didn’t know where he took me although I did remember the time, two minutes to two. She asked if I meant 1:58 and I said yes, but her question made the other one laugh and I lost Rhonda for a moment. She didn’t ask any more questions. While they were stitching me up I remembered that it wasn’t the time it was the room number 222. Did I remember it because it was the time as well? I don’t know. Eveline thought it didn’t matter but I thought it might be helpful.

When Rhonda showed me into the interview room there was another woman there. She was called Valerie and was very adamant that I didn’t call her Val. I admire that. I decided to tell my mum never to call me Veeny it was Eveline or nothing. The other one snorted with disbelief but more like contempt. She was right of course.

Rhonda and Valerie talked a lot as if I wasn’t there which I found comforting and annoying at the same time. It was then that the other one got the better of me or really, I let my guard down a bit. I said that I really wanted some company that night and that…

Rhonda cut me off, almost shouted. She said Eveline! Eveline! and I thought for a moment that she knew which one of me was speaking. Eveline! Stop! I could see that Valerie agreed with her. Rhonda leaned forward and took my hand as if she was going to tell me something that would change my life. It did.

She said in a voice like a new mum that I wasn’t to think like that. I wasn’t to talk like that. I said quietly as if I really had spilt the milk that I thought I was supposed to tell the truth. Rhonda leaned back and she and Valerie shared a look that said shouted is she ready to be told? We have no choice came back the look. Rhonda shifted in her chair and a loud noise filled the room like drilling teeth.

She said look Eveline and I knew this was going to be good. She said that women had to be very careful about which truth in which context. Valerie shook her head the tiniest bit and interrupted as if she felt a translation was needed and told me that what was true was only true to those who believed it to be true. I asked if what she said meant that there was more than one truth. Yes, she said. Many said Rhonda. I could understand this since really there were two fish flopping in my guts but since I never really trust what I hear or see I knew I had to adopt just one truth. I had come to my senses and push the other one back a bit and so I told them that I was just sitting at the bar minding my own business and I met a man who seemed nice and I went to his room because he seemed good. It seemed like a date. But then he had anally raped me when I insisted he wear a condom and he refused. Wasn’t that considerate? interrupted the other one. Don’t say that said Valerie and I knew I had to be stronger.

The fish flopped but only a little bit. I had never been in a courtroom before. It was nothing like on TV. It looked like a church meeting room. The man was there looking like a little boy and the other one felt sorry for him but I was stronger today and I pushed her pushed her right down and refused to listen. The man didn’t speak but a tall thin woman spoke for him. She described my clothes and made them seem like nothing, holding in nothing and they were exactly the clothes that I wore but she described them as the clothes the other Eveline was wearing. Everything she said was true but it was the other Eveline’s truth. I knew that. Rhonda knew that. Valerie knew that and the tall thin woman must have known that too but she was stronger. She made me realise I too had to be stronger. I had to choose the one truth that was the only truth that would help me.

When I spoke, I did exactly what Valerie and Rhonda had told me to say. How to say it. What to think about when I said it. How to look when I said it. I chose. I told the truth.

The tall thin woman and the man talked together for a long time and the judge got a bit angry. The man then spoke and I knew that he had not seen me. He had not talked to me. He had not raped me. He had raped Eveline but not me; and I knew that he was really a nice man but he had seen the wrong one and I felt a little sorry for him but I know now that this is wrong of me to think this.

There are still two flopping fish in my stomach but one is much bigger than the other and I know now that this is right. My name is Eveline and I know what it true.

Falconer by John Cheever

John-Cheever-pic
American short story writer and novelist (1912 – 1982), the ‘Chekov of the suburbs.’

John  Cheever was not a very nice man; or, to be kinder, a very complicated man. His wife. Mary,  hardly spoke to him – she had good season, he disliked homosexuals but was one himself – one lover, a student, lived with the family for a while; but he also had a short affair with Hope Lange, and he was an alcoholic until 1973; his daughter describing him as a father said, “he was a nightmare”. He was a snob and feared shame; and while terrified of his sexuality he wrote “if I could express myself erotically I would come alive.” He and his wife certainly hurt each other but they didn’t see that as a reason to break up a family. He craved the safety of domestic life but it made him ‘blissfully unhappy’.

In Colm Tóibín’s essay collection New Ways to Kill Your Mother: Writers and Their Families (2012) his chapter on Cheever is entitled, New Ways to Make Your Family’s Life  a Misery. That chapter was well-thumbed while writing this post.

He loved fame. If you are a famous musician, you can play something; if you’re a movie star, you can give them an autograph; but if you’re a writer, as Cheever’s son Federico put it, “Well, you get to say pompous things. You get to talk about aesthetics and things like that. That’s the goodies you get.”

“I would like to live in a world,” Cheever wrote, “where there are no homosexuals but I suppose Paradise is thronged with them.”

Before he died he wrote to his son “What I wanted to tell you is that your father has had his cock sucked by quite a few disreputable characters. I thought I’d tell you that, because sooner or later somebody’s going to tell you and I’d just as soon it came from me.” “I don’t mind Daddy, if you don’t mind.” In 1991 the New Yorker and Knopf paid 1.2 million dollars for the rights to publish the journals. Mary Cheever did not read them.

Cheever’s most famous story is The Swimmer (1964): a man ‘swims’ home via all the swimming pools from where he had been lounging beside one, to his. He is well regarded by his neighbours along the way but as he ‘swims’ closer to home the mood gets darker and the context more surreal. Is this really happening? When he gets there his house is empty. It was made into a film in 1968 starring Burt Lancaster. It was unsuccessful, but since has garnered a cult status. It was also the acting debut of comedienne Joan Rivers and the compositional debut of composer Marvin Hamlisch.

*

Many years ago my partner (now husband) and I had a boat: an old wooden cruiser. We took two friends motoring on Broken Bay one weekend and had a meal at Cottage Point Inn. We moored the boat rather grandly right in front of the restaurant; had a wonderful long lunch; too many bottles of wine; and returned to the boat only to find that it wouldn’t start. One of our guests, Julian, a vet, pulled up the floor hatch, climbed into the engine cavity and with a small implement borrowed from a neighbouring boat (far more grand, far more impressive) and a teaspoon from our cutlery drawer, got the engine going. What impressed me most, and has stayed with me all this time, was the feeling of Julian’s self-confidence, ease, and complete understanding of what he was doing. That same feeling returned while reading this book.

Falconer got Cheever on the cover of Newsweek with the title, A Great American Novel in 1977. It was on the New York Times best-seller list for three weeks. Cheever won the Pulitzer Prize in 1979 for his next published work, his collected Stories.

Falconer, on the surface is a crime/punishment/redemption story: Ezekiel Farragut, an academic and drug addict kills his brother, although he admits hitting him with a fire iron, he says his brother was drunk and he fell and hit his head on the hearth; he has a “profound”  love affair with a fellow inmate and then escapes, posing as a corpse, and understands he’s a better man.

The third-person narrator self-references once …

but at the time at which I’m writing, leg irons were still used …

This is rare, as if the narrator is a character, Cheever we suspect, but it need not be. If a third-person narrator self-references too much, he becomes a first-person narrator.

His wife, Marcia, visits him in prison

Farragut stepped into this no man’s land and came on hard, as if he had been catapulted into the visit by mere circumstance. ‘Hello darling’ he exclaimed as he had exclaimed ‘Hello darling’ at trains, boats, airports, the foot of the highway, journey’s end; but in the past he would have worked out a timetable, aimed at the soonest possible sexual consummation.

and as they talk,

Out the window he could see some underwear and fatigues hung out to dry. They moved in the breeze as if this movement – like the movements of ants, bees, and geese – had some polar ordination.

The narrator relates Farragut’s anecdotes about his relationship with his wife: their back story …

… he thought that perhaps a bag of fox grapes may do the trick. He was scrupulous about the sexual magic of tools.

He means ‘tools’ in the sense of ‘gifts’, but uses the word ‘tools’; it darkly colours the image with cynicism and says more about Cheever than about Farragut.

Contradictions are scattered through the text like peppercorns in a stew; light and shade, good and bad, right and wrong, innocence and guilt, ‘superficial and fortuitous’, masculine and feminine …

He had been called a bitch by a woman he deeply loved and he had always kept this possibility in mind. 

Most of the text is a stream of consciousness, a re-emerging writing style, as noted in the Booker Prize 2018 winner, Milkman by Anna Burns;  but I’ll leave the last word to Tóibín.

“If you ignore the upbeat, cheesy ending, Falconer is the best Russian novel in the English language.”                                                                                                                         Colm Tóibín.

You can read Joan Didion’s review of Falconer in the New York Times, March 6, 1977, here.

You can buy the Kindle edition here.