Storytelling, Narrative, and Truth Theme Analysis

She seems very young in the picture, too young, though she hadn’t considered herself too young at the time. He’s smiling too—the whiteness of his teeth shows up like a scratched match flaring—but he’s holding up his hand, as if to fend off in play, or else to protect himself from the camera, from the person who must be there, taking the picture; or else to protect himself from those in the future who might be looking at him, who might be looking at him though the square, lighted window of glazed paper. As if to protect himself from her. As if to protect her.

The Ygnirods were resentful of their lot in life, but concealed this with the pretense of stupidity. Once in a while they would stage a revolt, which would then be ruthlessly suppressed. The lowest among them were slaves, who could be bought and traded and also killed at will. They were prohibited by law from reading, but had secret codes that they scratched in the dirt with stones. The Snilfards harnessed them to ploughs.

The carpets were woven by slaves who were invariably children, because only the fingers of children were small enough for such intricate work. But the incessant close labour demanded of these children caused them to go blind by the age of eight or nine, and their blindness was the measure by which the carpet-sellers valued and extolled their merchandise: This carpet blinded ten children, they would say. This blinded fifteen, this twenty.

I tell you the stories I’m good at, he says. Also the ones you’ll believe. You wouldn’t believe sweet nothings, would you?

No. I wouldn’t believe them.

When I was the age for it—thirteen, fourteen—I used to romanticize Adelia. I would gaze out of my window at night, over the lawns and the moon-silvered beds of ornamentals, and see her trailing wistfully through the grounds in a white lace tea gown. I gave her a languorous, world-weary, faintly mocking smile. Soon I added a lover. She would meet this lover outside the conservatory, which by that time was neglected—my father had no interested in steam-heated orange trees—but I restored it in my mind, and it supplied it with hothouse flowers […]

In reality the chances of Adelia having had a lover were nil. The town was too small, its morals too provincial, she had too far to fall. She wasn’t a fool. Also she had no money of her own.

And then, after the wedding, there was the war. Love, then marriage, then catastrophe. In Reenie’s version, it seemed inevitable.

Like many peoples, ancient and modern, the Zycronians are afraid of virgins, dead ones especially. Women betrayed in love who have died unmarried are driven to seek in death what they’ve so unfortunately missed out on in life.

I feel sorry for him. I think he’s only doing the best he can.

I think we need another drink. How about it?

I bet you’re going to kill him off. You have that glint.

In all justice he’d deserve it. I think he’s a bastard, myself. But kings have to be, don’t they? Survival of the fittest and so forth. Weak to the wall.

You don’t really believe that.

Although I was beginning to like him better, I’m ashamed to admit that I was more than a little skeptical about this story. There was too much melodrama in it—too much luck, both bad and good. I was still too young to be a believer in coincidence. And if he’d been trying to make an impression on Laura—was he trying?—he couldn’t have chosen a better way.

Not only were they outside agitators, they were foreign outside agitators, which was somehow more frightening. Small dark men with moustaches, who’d signed their names in blood and sworn to be loyal unto death, and who would start riots and stop at nothing, and set bombs and creep in at night and slit our throats while we slept (according to Reenie). These were their methods, these ruthless Bolsheviks and union organizers, who were all the same at heart (according to Elwood Murray). They wanted Free Love, and the destruction of the family, and the deaths by firing squad of anyone who had money—any money at all—or a watch, or a wedding ring. This was what had been done in Russia. So it was said.

You might say he grabbed what he could get. Why wouldn’t he? He had no scruples, his life was dog eat dog and it always had been. Or you could say they were both young so they didn’t know any better. The young habitually mistake lust for love, they’re infested with idealism of all kinds. And I haven’t said he didn’t kill her afterwards. As I’ve pointed out, he was nothing if not self-interested.

The only way you can write the truth is to assume that what you set down will never be read. Not by any other person, and not even by yourself at some later date. Otherwise you begin excusing yourself. You must see the writing as emerging as a long scroll of ink from the index finger of your right hand; you must see your left hand erasing it.

Impossible, of course.

But it’s too good to be true, said Will. It must be a trap. It may even be some devilish mind-device of the Xenorians, to keep us from being in the war. It’s Paradise, but we can’t get out of it. And anything you can’t get out of is Hell.

But this isn’t Hell. It’s happiness, said one of the Peach Women who was materializing from the branch of a nearby tree. There’s nowhere to go from here. Relax. Enjoy yourselves. You’ll get used to it.

And that’s the end of the story.

That’s it? She says. You’re going to keep those two men cooped up in there forever?

I did what you wanted. You wanted happiness.

I look back over what I’ve written and I know it’s wrong, not because of what I’ve set down, but because of what I’ve omitted. What isn’t there has a presence, like the absence of light.

You want the truth, of course. You want me to put two and two together. But two and two doesn’t’ necessarily get you the truth.

The sudden invasion changes things for the Zycronians. Barbarians and urbanites, incumbents and rebels, masters and slaves—all forget their differences and make common cause. Class barriers dissolve—the Snilfards discard their ancient titles along with their face masks, and roll up their sleeves, manning the barricades alongside the Ygnirods.

Laura herself didn’t know it, of course. She had no thought of playing the romantic heroine. She became that only later, in the frame of her own outcome and thus in the minds of her admirers. In the course of daily life she was frequently irritating, like anyone. Or dull. Or joyful, she could be that as well: given the right conditions, the secret of which was known only to her, she could drift off into a kind of rapture.

I was relieved: all might yet be well. Laura was still in town. She would talk to me later.

She has, too, though she tends to repeat herself, as the dead have a habit of doing. They say all the things they said to you in life; but they rarely say anything new.

How can I describe the pool of grief into which I was now falling? I can’t describe it, and so I won’t try.

What did I want? Nothing much. Just a memorial of some kind. But what is a memorial, when you come right down to it, but a commemoration of wounds endured? Endured, and resented. Without memory, there can be no revenge.

Lest we forget. Remember me. To you from failing hands we throw. Cries of the thirsty ghosts.

Nothing is more difficult than to understand the dead, I’ve found; but nothing is more dangerous than to ignore them.

As for the book, Laura didn’t write a word of it. But you must have known for some time. I wrote it myself, during my long evenings alone, when I was waiting for Alex to come back, and then afterwards, once I knew he wouldn’t. I didn’t think of what I was doing as writing—just writing down. What I remembered, and also what I imagined, which is also the truth.

It was no great leap from that to naming Laura as the author. You might decide it was cowardice that inspired me, or a failure of nerve—I’ve never been fond of spotlights. Or simple prudence: my own name would have guaranteed the loss of Aimee, whom I lost in any case. But on second thought it was merely doing justice, because I can’t say Laura didn’t write a word. Technically that’s accurate, but in another sense—what Laura would have called the spiritual sense—you could say she was my collaborator. The real author was neither one of us: a fist is more than the sum of its fingers.

The photo has been cut; a third of it has been cut off. In the lower left corner there’s a hand, scissored off at the wrist, resting on the grass. It’s the hand of the other one, the one who is always in the picture whether seen or not. The hand that will set things down.