# Pierre and Luce/8

1922
​Out beyond the Malakoff. Streets like broken teeth separated by vague regions losing themselves in a dubious kind of country-side where among boarded enclosures blossom the cabins of ragpickers. The gray dull sky is lying low over the colorless ground whose thin edges smoke with the fog. The air is chill. The house easy to find: there are only three of them on one side of the road. The last of the three; it has no neighbor across the street. It has but one story with a little courtyard which is surrounded by a picket fence; two or three starveling trees, a square patch of kitchen garden under the snow.
Pierre has made no noise on entering; the snow deadens his steps. But the curtains of the ground floor are in motion; and when he reaches the door, the door opens and Luce is on the threshold. In the half light of the ​hall they say good day in a choking voice, and she ushers him into the first apartment which serves as dining-room. There it is that she works: her easel is installed near the window. At first they do not know what to say to one another: both have thought over this visit altogether too much beforehand; none of the speeches they had prepared is able to come forth; and they talk in a halfvoice, although there is nobody else in the house—and it's just for that reason. They stay seated at some distance from each other with their arms rigid; and he has not even thrown back the collar of his cloak. They chat about the cold weather and the hours of the tramcars. They are unhappy to feel themselves so silly.
At last she makes an effort and asks if he has brought the photographs, and scarcely has he taken them from his pocket when both pluck up a spirit. These pictures are the intermediaries over whose heads the chat revives; for now the two are not entirely alone; there are eyes that look at you and they are not embarrassing. Pierre has had ​the clever idea (there was really no roguishness in it) to bring all his photographs, from the age of three; there was one that showed him in a little skirt. Luce laughed with pleasure; she spoke to the photo in comical baby talk. Can there be anything more delightful to a woman than to see the picture of the person she loves when he was quite small? She cradles, she rocks him in her thoughts, she gives him the breast; and she is even not so far from the dream that she has given him birth. And besides (nor does she dupe herself at all) it forms a convenient pretext to say to the infant what she cannot force herself to say to the grown-up.—When he asks which one of the photographs she prefers, she says without hesitating:
"The dear little codger . . ."
How serious he looks, already! Almost more serious than today. Certainly if Luce dared to look (and just here she does dare) in order to make comparisons with the Pierre of today, she would see in his eyes an expression of joy and infantile gayety that does not appear in the infant: for the ​eyes of this infant, this little bourgeois under a bell glass, are birds in a cage that lack sunlight; and the sunlight has come, hasn't it, Luce? . . .
In his turn he asks to see photos of Luce. She exhibits a little girl of six with a big plait who is squeezing a little dog in her arms; and as she sees it again she thinks mischievously that in that period she loved no less fervently nor very differently; whatever heart she possessed she gave it even then to her dog; it was Pierre already, while waiting till he arrived. Also she showed a young miss of thirteen or fourteen who twisted her neck with a coquettish and a somewhat pretentious air; luckily there was always there at the corners of the mouth that roguish little smile which appeared to say:
"You know, I'm just amusing myself; I don't take myself seriously."
Now they had completely forgotten their former embarrassment.
She set herself to sketching-in the portrait. Since he must not budge one bit any more, nor talk except with the tips of his lips, she it ​was who made almost all the conversation, all by herself. Instinct told her that silence was dangerous. And as it happens with sincere persons who talk at some length, she came quickly to the point of confiding to him the intimate affairs of her life and those of her family which she did not have the slightest intention of recounting. She heard herself speak with astonishment; but there was no way of returning to solid ground; the very silence of Pierre was like a declivity down which the stream glided. . . .
She recited the facts of her infant life in the provinces. She came from Touraine. Her mother belonging to a well-to-do family of the solid bourgeoisie became infatuated with a tutor, the son of a farmer. The bourgeois family opposed the marriage; but the two lovers were obstinate; the young girl had waited until she was of age in order to send out the legal summons to her family. After the marriage her people would not recognize her. The young couple lived through years of affection and hard fare. The husband wore himself out at his task ​and sickness arrived. The wife accepted this further burden courageously; she worked for two. Her parents, obstinately cherishing their wounded pride, refused to do anything to come to his assistance. The sick man died a few months before the outbreak of the war. And the two women did not try to renew connection with the mother's family. The latter would have welcomed the young girl if she had made any advances; she would have been received like a mea culpa condoning the action of her mother. But the family might wait! Rather eat stones for breakfast!
Pierre was amazed at the hard heartedness of these bourgeois parents. Luce did not find it extraordinary.
"Don't you believe there are a great many people like that? Not wicked. No, I am sure that my grandparents are not, and even believe that it pained them not to say to us: 'Come back!' But their self-respect had been mortified too much. And self-love among these people, there's nothing else that is so great. It is stronger than all the rest. ​When one has done them wrong it is not merely the wrong that one has done them; there is the Wrong; the others are wrong and they themselves are right. And so, without being cruel (no, really, they are not) they would let you die near them at a slow fire rather than concede that perhaps after all they were not right. Oh, they are not the only ones! One meets with many others! . . . Say, am I mistaken? Aren't they just like that?"
Pierre pondered. He was excited. For he was thinking:
"Why, yes. That is the way they are. . . ."
Through the eyes of the little girl he saw abruptly the penury of heart, the desert-like aridity of this bourgeois class of which he formed a part. Dry and wornout earth which little by little has imbibed all the juices of life and does not renew them any more, just like those lands in Asia where the fecundating rivers, drop by drop, have disappeared under the vitreous sand. Even those whom they believe they love are loved ​in a proprietary way; they sacrifice them to their egotism, to their buttressed pride, to their narrow and headstrong intelligence. Pierre took a sorrowful review of his parents and himself. He was silent. The panes of the apartment vibrated under the shock of a distant cannonade. And Pierre, who was thinking of those who were dying, said with bitterness:
"And that, too, is their work."
Yes, the hoarse barking of these cannon away off there, the universal war, the grand catastrophe—the dryness of heart and the inhumanity of that braggart and limited bourgeoisie had a large part in the responsibility for all that. And now (which was only just) the unchained monster would never stop until it had devoured them.
And Luce said:
"That is true."
For without knowing that she did so she followed the thought of Pierre. He started at the echo:
"Yes, it is true," said he, "what has come ​about is just. This world was too old; it ought to, it must die."
And Luce, bowing her head, sorrowful and resigned, said once more:
"Yes."
Solemn faces of children bent beneath Destiny, whose youthful brows touched by the wing of care bore within them such distressful ponderings! . . .
Darkness increased in the room. It was not very warm in there. Her hands being icy, Luce stopped her work, which Pierre was not allowed to see. They went to the window and contemplated the evening shadows across mournful fields and wooded hills. The violet forests formed a half circle against a greenish sky powdered with dust of a pale gold. A bit of the soul of Puvis de Chavannes floated there. A simple phrase of Luce made it evident that she understood how to read that subtle harmony. He was almost astonished. She was not miffed at that, and said that one might easily feel a thing that one would be incapable of expressing. Though she painted very badly, it was ​not altogether her fault. Through an economical turn, perhaps ill-advised, she had not finished her course at the Arts Décoratifs. Besides, poverty alone had made her turn to painting. What use in painting without a purpose? And did not Pierre think that almost all those who produce art do it without actual necessity, through vanity, in order to occupy their time, or else because at first they think they need it and later on will not confess they were mistaken? One should not be an artist save when one absolutely cannot keep to oneself the feeling one has—only when one has too much feeling. But Luce said she possessed just enough for one. She went on:
"No, for two."
(Because he made a face at her.)
The lovely golden tints in the sky began to turn to brown. The deserted plain put on a disconsolate mask. Pierre asked Luce if she was not afraid in that solitude.
"No."
"When you get home late?"
"There is no danger. The Apaches don't ​come here. They have their own customs. They are bourgeois, too. Besides, we have over there an old ragpicker, and his dog. And besides, I have no fear. Oh, I'm not boasting about myself! I have no merit at all in it. I am not courageous naturally. Only, I have not as yet had any occasion to meet with real fear. The day I do see it, perhaps I shall be more of a poltroon than the next one. Does one ever know what one really is?"
"Well, I for my part know what you are," quoth Pierre.
"Ah, that is much easier. I myself likewise, I know . . . as to you! One always knows better about another."
The moist chill of evening entered the room through the closed windows. Pierre felt a little shudder. Luce, who perceived it at once on his neck, ran to make him a cup of chocolate, which she heated on her spirit-lamp. They took a bit of food. Luce had thrown her shawl maternally over Pierre's shoulders; and he let her do it like a cat enjoying the warmth of the stuff. ​Once more the current of their thoughts brought them back to the family history which Luce had interrupted.
Pierre continued:
"Both of you all alone, so entirely alone, you and your mother: you must be deeply attached to one another."
"Yes," said Luce. "We were very much attached."
"Were?" repeated Pierre.
"Oh!" said Luce, "we always love each other;" still somewhat embarrassed by the word which had escaped her without thinking. (Why must she always tell him more than she meant to? And nevertheless he did not ask, he dared not ask her. But she saw that his heart was putting the question. And it's so nice to confide in someone when one has never had the chance! The silence of the house, the half-shade of the room encouraged her to confess.) She observed:
"There's no saying or knowing what has been going on for the last four years. The whole world is changed."
​"You mean to say that your mother, or that you have changed?"
"The whole world," repeated she.
"In what respect?"
"That's hard to define. One feels everywhere among people who know each other, even in the family, that the relations are not the same. One is never sure of anything any more; in the morning one says to oneself: What is it I am going to experience this night? Shall I recognize it? One is as if on a plank in the water just about to upset."
"What is it that's happened?"
"I don't know," said Luce, "I can't explain it. But it has come since the war. There is something in the air. Everybody is troubled. In families one sees people who were not capable of doing without one another marching off today, each one in his own direction. And as if intoxicated each one runs along with nose on the trail."
"Where do they go?"
"I don't know. And I believe they don't either. Either pure chance or some desire ​spurs them. Women take lovers. Men forget their wives. And kindly people, too, who generally appear so calm and so orderly! Everywhere we hear of households broken up. It's the same between parents and children. My mother . . ."
She stopped, then ran on:
"My mother lives her own life."
She stopped again:
"Oh, it's perfectly natural! She is still young, and poor mama has not had much happiness; she has not poured out her sum of affection. She has a right to want to make her life over again."
Pierre inquired:
"She wants to marry again?"
Luce shook her head. One could hardly know very well. . . . Pierre dared not insist.
"She loves me well, still. But it's not the way it used to be. She is able to do without me at present. . . . Poor mama! She would be so sorry if she knew that her love for me is no longer in her heart as the first of all! She would never confess that, ​never. . . . O, how queer it is, this life!"
She wore a sweet smile, sorrowful and roguish. Upon her hands placed on the table Pierre put his hands tenderly, and sat without motion.
"We are poor creatures," he muttered.
Luce continued in a moment:
"We two, how tranquil we are! . . . The others have the fever. The war. The factories. People are in a hurry. They hustle. To work hard, to live, to enjoy themselves . . ."
"Yes," said Pierre, "the time is short."
"All the more reason not to run!" said Luce. "One gets too soon to the end. Let us walk slowly."
"But it's time that hurries along. Hold on to it well."
"I'm holding onto it; I'm holding," said Luce, grasping his hand.
Thus back and forward, tenderly, gravely, they talked like a pair of good old friends. But they took good care that the table should stay between them.
And behold, they perceived that the night ​had filled the room. Pierre rose hurriedly. Luce did nothing to retain him. The short hour had passed. They were afraid of the hour that might come. They said au revoir to each other with the same constraint, the same low and choked voice as when he came in. On the threshold their hands scarcely dared to press each other.
But when the door was shut, just as he was about to leave the garden, as he turned his head toward the window of the ground floor, he saw in the last gleam of the copper-colored twilight, on the pane, the outline of Luce, who was following his departure into the uncertain depths of the gleam-filled obscurity with a face full of passion. And turning back to the window, he pressed his lips against the closed pane. Their lips kissed through the wall of glass. Then Luce moved back into the shadows of the room and the curtain fell.