A Pretty Picture
Janet Goldberg
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This weekend they planned to see the Julia Morgan again, an exquisite, two-story stucco with soaring ceilings, rich mahogany floors, and lovely built-ins. $2.5 million. Not that she and Conrad planned to buy. On Sundays they just liked going to the Open Houses, touring the old Berkeley homes in the fancy neighborhoods they couldn’t afford. And it wasn’t that they were poor. The 1918 condo they’d bought two decades ago was actually quite valuable but not valuable enough to buy one of the grand old houses—there simply wasn’t enough cash to make up the difference. Conrad, an accountant for a small business stamp company, did okay, but because he was on in years his meager increases barely made up for inflation, and Dorothy, a therapist with her own practice, was on the downslide too, the scream therapy she gave, corrupted, commandeered now by marketers looking to make a buck. “Log onto Escape to Australia and with the touch of a button you can scream your head off, record it, and hear it played back to you from the outback.” Dorothy had stumbled onto the website one day and was horrified to see a giant speaker blaring someone’s screams among startled kangaroos. But on Sundays, roaming through all the open houses, she and Conrad could forget their problems. This Sunday though, Conrad woke up with a cold. “But don’t let that stop you from seeing the house again,” he said to Dorothy after he blew his nose.
“I think I’ll go meet Margret instead. For brunch. She’s been trying to get me into the city for ages. I’ll just take the train in.” Earlier, before Conrad had woken up, Dorothy had spotted in the newspaper just a small ad about an exhibit at the San Francisco Art Museum, a new gallery across the bay, beneath it a small photo of a diapered infant propped up on a pillow. But precious as it was, there was something odd about it, the infant’s eyes. Dorothy had to get a magnifying glass to get a better look.
“But what about the Julia Morgan?” Conrad asked. “It might not be open again next weekend.”
“Oh, they’ll be others. And besides I wasn’t keen on the bedrooms. All that dark wood paneling. And that pink bathroom. I couldn’t see myself squeezing into it. Though that old tile has its charm.”
“Well, that bathroom would have to be gutted,” Conrad said.
Gutting such houses—the Julia Morgans, the Bernard Maybecks, the John Hudson Thomases—was something they’d become fond of doing, tearing them down to size with this or that comment.
Dorothy slipped on her coat and picked up her bag. “I’m not sure when I’ll be back. Before dinner. Maybe we should bring something in—if you feel like eating, that is.”
“I always feel like eating.”
She left the condo and walked to the station, catching a westbound train. Twenty minutes later, emerging from the tube under the bay, Dorothy got off at Powell Street. It was quiet there, the underground station dingy, only a man in a blue jumpsuit pushing a yellow bucket, a string mop protruding from it. As she rode the escalator up and heard a train from the eastbound side pull in, a pang of regret, of guilt, struck her, and she thought of aborting, of running back down the escalator and catching that train back to Berkeley, where she could leisurely breakfast at a café and then hit the Julia Morgan. Conrad wouldn’t know any different, would probably be pleased that she’d changed her mind. After returning home, she could deliver her impressions, and once again together they could tear down the house. Had she been truthful, had she told him where she was really going, the nature of the exhibit, she knew what’d he say: Why on earth see a thing like that? But she couldn’t be the only one going, could she?
Exiting the station, she stepped out onto Market Street. A heavy dome of fog hung over the city. Shivering, Dorothy pulled her coat tight as she headed toward the museum, along the empty sidewalks as the empty Sunday buses and cable cars ground down the street.
Outside the museum now, one of the older brick buildings that hadn’t yet been torn down, she paid and then entered, brochure in hand. For a few minutes she skimmed through the brochure and then followed the signs to the exhibit. At first it looked like any other gallery with framed art hung on austere white walls and benches to sit, though these were polished marble, long and rectangular, attractive but hardly inviting. It was early, only a few people milling about, their coats still on as if the fog had crept in with them. Maybe the photographs, like delicate fruit or the dead themselves, needed to be kept at a certain temperature.
One by one she took each photograph in, mostly families—mothers and infants, siblings, whole families, what you might think were innocent depictions of a bygone era, if you didn’t know any better. So it was like a strange guessing game, trying to distinguish the dead from the living. That apparently was the point of such death photography—daguerreotype—developed in the early 1800s as a means to help the Victorians cope with early death, so the brochure said. Print-maker Louis Daguerre had apparently invented the means to make such photos both blurry and lifelike, a loving means of preserving the dead. One photograph in particular drew Dorothy in, five plump, dour-faced siblings lined up in a row, three boys and two girls, the older girl, a sturdy brunette with long curly hair, in a plaid jumper, and the other, the smallest, a cutie with blond sausage curls, in a white satin dress. Dorothy stepped closer, zeroing in on her. She was a little paler than the rest, her cheeks puffed out as if she were holding her breath, her shoulders so bunched up she seemed perfectly neckless. Her eyes barely open, she appeared to be asleep on her feet, whereas her siblings, erect and round-eyed, seemed unable to shut their eyes, their lids seemingly propped open.
“It’s her.” Dorothy heard a voice behind her. “The dead one.” She turned and saw a young man sitting on one of the marble benches. He had straight dark hair and bangs and pimply skin. He was wearing gray sweat pants and what looked like brand-new white sneakers. He was quite small, the size of a boy, his feet barely reaching the floor, but his deep voice made her think he might be older, high school, maybe even college. She’d treated young people before. She actually preferred them over adults. Dorothy looked at the photograph again and then down at her brochure, which said the smallest bodies were the easiest to prop up. She sat down beside the young man. He was clutching an old, battered-looking shopping bag on his lap. This struck her as odd, but she shifted her gaze to another photo to the right of the siblings. “I thought this might be interesting, but actually it’s quite ghastly” came out of her mouth, though she’d meant to keep this to herself. But then wasn’t that how she used to always start her sessions so many years ago, before scream therapy, when she’d endorsed traditional talk-therapy, with an ice breaker, a confession of her own? Of course, some of those confessions were just lies.
“The ones with the eyes are the worst,” the young man said. “The painted-on ones.”
She assumed he was referring to the 19th century artists who made their living painting eyes on the dead. There’d been something about that in the brochure too, and now that odd picture of the infant in the newspaper made sense.
“Are you a student?” Dorothy asked. She sat down on the bench beside him.
The young man relaxed his grip on the shopping bag a little. “Not really. I was shipped here from China. My parents like to send me places.”
“To study? Your English is very good.” Dorothy thought it was best to compliment him. It was almost impossible not to when presented with someone this young and obviously ailing. Still, she was surprised at how readily he’d engaged her. She wouldn’t ask him about the shopping bag, of course. Not right now.
“When I was in high school, they sent me to boarding school in China.”
“Why is that?”
The young man shrugged. “My parents don’t get along. They hate me.”
Dorothy nodded. She heard such proclamations before, but she’d never met a parent who hated their child. She didn’t think it was impossible though. “You seem like a nice person to me,” Dorothy said, still peering at the photograph next to the siblings, this one a sweet family trio arranged lovingly in a coffin, husband and wife, their infant nestled between them. Eyes closed. A serene look on their faces. Such a pretty picture.
The young man let out a sigh. A little bead of saliva formed at the crack of his mouth. “Those little beasts at the boarding school tormented me for years.”
“That’s terrible. What did they do to you?”
The young man turned toward her. His eyes looked glassy. His head shuddered a little, and then, clutching the bag more tightly, he turned away. “Never mind. It doesn’t matter.”
“Doesn’t it?”
“What do you think they did to me?” His voice was almost a whisper now, a polite hiss, which made her bristle. She thought about getting up, leaving. She looked for a window.
But then he sighed. “It doesn’t matter. Let bygones be bygones.” He chuckled a little.
The expression sounded strange coming out of his mouth. Dorothy folded her hands on her lap, trying to appear relaxed, and looked at a different photo now, this one to the left of the siblings. In it another little girl, this one seated on an upholstered chair, appeared to have dozed off, her head turned, chin resting on her chest. Beside her, in a twin chair, was a large doll nearly the same size as her, wearing the same hair ribbon, the same jumper.
“That’s definitely the weirdest one,” the young man said. “Dolls are so creepy.”
“You know,” Dorothy said, “I’m a therapist. I can help you.”
He turned toward her again. “You came to see dead children and you want to help me?”
“I don’t blame you for being angry,” Dorothy said.
“You don’t even know me,” the young man said.
“What is it you have in that bag?”
He blinked his eyes and then gazed into the bag. “It’s what I carry with me all the time,” he said.
“You aren’t homeless, are you?”
The young man scoffed. “You think everyone who carries a bag is homeless?”
“Of course not,” Dorothy said. “It’s just that I’m worried about you, that you might hurt yourself. You wouldn’t do that, would you?”
“You mean hurt someone else.” He looked around the room. “There aren’t even enough people here to hurt. I should have gone someplace else.”
Dorothy rubbed her hands together, the bench beneath her so cold.
“Anyway,” the young man said, “haven’t you seen enough? Maybe you should leave. You must have better places to be.”
Dorothy imagined Conrad in his armchair, tissues and cough drops, the smell of mentholyptus. She thought of all the bad colds she’d had, how she couldn’t breathe. “Actually I don’t.”
“You’re just saying that,” the young man said. His face stony now, he reached into his bag.
“You don’t need to do that,” Dorothy said.
The young man pulled his hand out, in it a thin, dog-eared book.
“Oh,” she said, relieved, then annoyed, recognizing that miserable little book. The proverbial bible of alienation—The Stranger. How many young men had it ruined? Still, Dorothy remained composed. No point in being argumentative. “Are you reading that for school?”
“Who said I was going to school?”
“I just assumed…” She noticed that there were more people about now, and a few had turned to look at them.
The young man slipped the book back in the shopping bag; then he pulled something else out and stood it on his lap, holding it firmly between his hands. It was so bizarre she didn’t know what to say as she stared at its button eyes and stitched-on mouth. Then he put the small stuffed bear back in his bag.
“Is that all you have in your bag?” Dorothy asked.
Another bear came out, this one green with some bald spots around the ears. “This bear hates everyone.”
“Why?”
The young man slowly shook his head. “It just does.”
Dorothy crossed her arms, hugging herself. “I wish they’d turn some heat on. I’ve never been so cold in my life.”
The green bear disappeared back in the bag.
The young man turned to her. “You’d better leave now.”
“Why? What are you going to do?”
“What do you care anyway?”
“Just think of your future.” Dorothy wanted to reach out to the young man, to touch his arm.
“You like to play games, don’t you?” The young man looked over at a photo. “You know why she did it? The mother.”
Dorothy followed his gaze. He seemed to be focused on the family in the coffin. “Did what?”
“Stabbed them with a knife. Him, then the baby.”
Dorothy studied the young, pretty face of the woman, of the murderess, and then looked down at her brochure. “Is that what it says? How awful.” She shook her head. Feeling sick, she pressed her hand to her stomach, and muttered, “I should have gone to the Open House, the Julia Morgan.”
“Julia Morgan? Who’s that?” The young man slid his hand back in the shopping bag, something small and dark coming out this time.
But Dorothy, trying to calm herself, averted her eyes, fixing them on the space, the white wall between photographs. A tranquil luxury; a quiet grandeur. The realtor’s voice from last Sunday echoed in her head and then the brochure copy, what she could remember of it, she started softly reciting—Classic wainscoting. French doors. Curved staircases. Leaded glass. Expansive gardens. Gourmet kitchen. Heart-stopping views. An absolute gem—for as long as she could.
