The man behind her on the steps, the man whose name appears on the manifest as DILLON, R.W., leans toward her and murmurs briefly.
She looks up, smiles at the passenger service representative, and leans forward, docile, while he attempts to simultaneously shield her with the umbrella and place the plumeria lei on her shoulders.
Aloha, he would be saying.
So kind.
Tragic circumstances.
Anything we as a company or I personally can do.
Facilitate arrangements.
When the senator arrives.
So kind.
As the passenger service representative speaks to the man listed on the manifest as DILLON, R.W., clearly a consultation about cars, baggage, facilitating arrangements, when the senator arrives, the woman stands slightly apart, still smiling dutifully. She has stepped beyond the protection of the umbrella and the rain runs down her face and hair. Absently she fingers the flowers of the lei, lifts them to her face, presses the petals against her cheek and crushes them. She will still be wearing the short knitted skirt and the crushed lei when she sees, two hours later, through a glass window in the third-floor intensive care unit at Queen’s Medical Center, the unconscious body of her sister Janet.
This scene is my leper at the door, my Tropical Belt Coal Company, my lone figure on the crest of the immutable hill.
Inez Victor at 5:47 A.M. on the morning of March 26, 1975, crushing her lei in the rain on the runway.
Jack Lovett watching her.
“Get her in out of the goddamn rain,” Jack Lovett said to no one in particular.
Two
1
ON the occasion when Dwight Christian seemed to me most explicitly himself he was smoking a long Havana cigar and gazing with evident satisfaction at the steam rising off the lighted swimming pool behind the house on Manoa Road. The rising steam and the underwater lights combined to produce an unearthly glow on the surface of the pool, bubbling luridly around the filter outflow; since the air that evening was warm the water temperature must have been, to give off steam, over one hundred. I recall asking Dwight Christian how (meaning why) he happened to keep the pool so hot. “No trick to heat a pool,” Dwight Christian said, as if I had congratulated him. In fact Dwight Christian tended to interpret anything said to him by a woman as congratulation. “Trick is to cool one down.”
It had not occurred to me, I said, that a swimming pool might need cooling down.
“Haven’t spent time in the Gulf, I see.” Dwight Christian rocked on his heels. “In the Gulf you have to cool them down, we developed the technology at Dhahran. Pioneered it for Aramco. Cost-efficient. Used it there and in Dubai. Had to. Otherwise we’d have sizzled our personnel.”
A certain dreaminess entered his gaze for an instant, an involuntary softening at the evocation of Dhahran, Dubai, cost-efficient technology for Aramco, and then, quite abruptly, he made a harsh guttural noise, apparently intended as the sound of sizzling personnel, and laughed.
That was Dwight Christian.
“Visited DWIGHT and Ruthie (Mills College ’33) CHRISTIAN at their very gracious island outpost, he has changed the least of our classmates over the years and is still Top Pineapple on the hospitality front,” as an item I saw recently in the Stanford alumni notes had it.
On the occasion when Harry Victor seemed to me most explicitly himself he was patronizing the governments of western Europe at a dinner table on Tregunter Road in London. “Sooner or later they all show up with their shopping lists,” he said, over rijstaffel on blue willow plates and the weak Scotch and soda he was nursing through dinner. He had arrived at dinner that evening not with Inez but with a young woman he identified repeatedly as “a grand-niece of the first Jew on the Supreme Court of the United States.” The young woman was Frances Landau. Frances Landau listened to everything Harry Victor said with studied attention, breaking her gaze only to provide glosses for the less attentive, her slightly hyperthyroid face sharp in the candlelight and her voice intense, definite, an insistent echo of every opinion she had ever heard expressed.
“What they want, in other words,” Frances Landau said. “From the United States.”
“Which is usually nuclear fuel,” Harry Victor said, picking up a dessert spoon and studying the marking. He seemed to find Frances Landau’s rapt interpolation suddenly wearing. He was not an insensitive man but he had the obtuse confidence, the implacable ethnocentricity, of many people who have spent time in Washington. “I slept last night on a carrier in the Indian Ocean,” he had said several times before dinner. The implication seemed to be that he had slept on the carrier so that London might sleep free, and I was struck by the extent to which he seemed to perceive the Indian Ocean, the carrier, and even himself as abstracts, incorporeal extensions of policy.
“Nuclear fuel to start up their breeders,” he added now, and then, quite inexplicably to the other guests, he launched as if by reflex into the lines from an Auden poem that he had been incorporating that year into all his public utterances: “ ‘I and the public know what all schoolchildren learn. Those to whom evil is done do evil in return.’ W.H. Auden. But I don’t have to tell you that.” He paused. “The English poet.”
That was Harry Victor.
My point is this: I can remember a moment in which Harry Victor seemed to present himself precisely as he was and I can remember a moment in which Dwight Christian seemed to present himself precisely as he was and I can remember such moments about most people I have known, so ingrained by now is the impulse to define the personality, show the character, but I have no memory of any one moment in which either Inez Victor or Jack Lovett seemed to spring out, defined. They were equally evanescent, in some way emotionally invisible; unattached, wary to the point of opacity, and finally elusive. They seemed not to belong anywhere at all, except, oddly, together.
They had met in Honolulu during the winter of 1952. I can define exactly how winter comes to Honolulu: a kona wind comes up and the season changes. Kona means leeward, and this particular wind comes off the leeward side of the island, muddying the reef, littering the beaches with orange peels and prophylactics and bits of Styrofoam cups, knocking blossoms from the plumeria trees and dry fronds from the palms. The sea goes milky. Termites swarm on wooden roofs. The temperature has changed only slightly, but only tourists swim. At the edge of the known world there is only water, water as a definite presence, water as the end to which even the island will eventually come, and a certain restlessness prevails. Men like Dwight Christian watch the steam rise off their swimming pools and place more frequent calls to project sites in Taipei, Penang, Jedda. Women like Ruthie Christian take their furs out of storage, furs handed down from mother to daughter virtually unworn, the guard hairs still intact, and imagine trips to the mainland. It is during these days and nights when sheets of rain obscure the horizon and the surf rises on the north shore that the utter isolation of the place seems most profound, and it was on such a night, in 1952, that Jack Lovett first saw Inez Christian, and discerned in the grain of her predictable longings and adolescent vanities an eccentricity, a secretiveness, an emotional solitude to match his own. I see now.