The Mortons’ apartment was a shambles, thrift shop, rats’ nest, charity bazaar, gypsy camp: as incoherent as their lives. They redecorated at least twice a year, and these upheavals had left a squabble of detritus: chairs in Swedish modern, a Victorian love seat, a Sheraton lowboy, a wooden Indian, Chinese vases, chromium lamps, Persian rugs, a barber pole, a Plexiglas table, ormolu ashtrays, Tiffany glass, and paintings in a dozen trendy styles, framed and unframed, hung and propped against the wall.
And everywhere, books, magazines, prints, photographs, newspapers, posters, swatches of cloth, smoking incense, boxes of chocolates, fresh flowers, fashion sketches, broken cigarettes, a bronze screw propeller and a blue bedpan: all mixed, helter-skelter, as if giant salad forks had dug into the furnishings of the apartment, tossed them to the ceiling, allowed them to flutter down as they would, pile up, tilt, overlap, and create a setting of frenzied disorder that stunned visitors but proved marvelously comfortable and relaxing.
Sam Morton led Daniel to the entrance of the living room, tugging him along by the arm, fearful of his escaping. Blank waved a hand at Blanche, working in the kitchen, as he passed.
In the living room, Flo Morton smiled and blew a kiss to Dan. He turned from her to look at the woman who had been speaking when they entered, and who would not stop to acknowledge their presence.
“It is bad logic and worse semantics,” she was saying in a voice curiously devoid of tone and inflection. “‘Black is beautiful’? It’s like saying, ‘Down is up.’ I know they mean to affirm their existence and assert their pride. But they have chosen a battlecry no one, not even themselves, can believe. Because words have more than meaning, you see. The meaning of words is merely the skeleton, almost as basic as the spelling. But words also have emotional weight. The simplest, most innocent words-as far as definition is concerned-can be an absolute horror emotionally. A word that looks plain and unassuming when written or printed can stir us to murder or delight. ‘Black is beautiful’? To the human race, to whites, blacks, yellows, reds, black can never be beautiful. Black is evil and will always seem so. For black is darkness, and that is where fears lie and nightmares are born. Blackhearted. Black sheep of the family. Black art: the magic practised by witches. Black mass. These are not racial slurs. They spring from man’s primitive fear of the dark. Black is the time or place without light, where dangers lurk, and death. Children are naturally afraid of the dark. It is not taught them; they are born with it. And even some adults sleep with a nightlight. ‘Behave yourself or the boogie man will get you.’ I imagine even Negro children are told that. The ‘boogie’-a black monster who comes out of the dark, the perilous dark. Black is the unknowable. Black is danger. Black is evil. Black is death. But ‘Black is beautiful’? Never. They’ll never get anyone to believe that. We are all animals. I don’t believe we’ve been introduced.”
She raised her eyes to look directly at Daniel Blank. He was startled. He had been so engrossed with her lecture, so intent on following her thought, that he had no clear idea of what she looked like. Now, as Florence Morton hastily introduced them, as he crossed the room to take Celia Montfort’s proffered hand, he inspected her closely.
She sat curled up in the softness of a big armchair that was all foam, red velvet and cigarette burns. Strangely, for a Sunday morning, she was wearing an elegant evening shift of black satin. The neckline was straight across, the dress suspended from bare shoulders by “spaghetti straps.” She wore a thin choker of diamonds, and on the wrist of the hand she held out to Blank was a matching bracelet. He wondered if perhaps she had been to an all-night party and had been unable to go home to change. He thought so when he saw the silk evening slippers.
Her hair was so black it was almost purple, parted in the middle, and fell loosely below her shoulders without wave or curl. It gave her thin face a witch-like appearance, enhanced by long, slender hands, tapering fingers with stiletto nails.
Her bare arms, shoulders, the tops of her small breasts revealed by the low-cut gown: all gleamed against the red velvet. There was a peculiar, limpid nakedness to her flesh. The arms were particularly sensuaclass="underline" smooth, hairless, as seemingly boneless as tentacles: arms squeezed from tubes.
It was difficult to estimate her height or appreciate her figure while she was coiled into the armchair. Blank judged her a tall woman, perhaps five foot six or more, with a good waist, flat hips, hard thighs. But at the moment all that was of little importance to him; her face bewitched him, her eyes locked with his.
They were grey eyes, or were they a light blue? Her thin brows were arched, or were they straight? Her nose was-what? An Egyptian nose? A nose from a sarcophagus or bas-relief? And those parted lips: were they full and dry, or flat and moist? The long chin, like the toe of her silk slipper-was that enchanting or perhaps too masculine? As Sam Morton had said, not beautiful. But something there. Something better? It needed study.
He had the impression that at this time, noon on a bright Sunday, wearing Saturday night’s stale finery, her face and body were smudged with weariness. There was a languor in her posture, her skin was pallid, and faint violet shadows were beneath her eyes. She had the scent of debauchery, and her toneless voice came from senses punished beyond feeling and passions spent.
Florence and Samuel immediately launched into a violent denunciation of her “Black is beautiful” comments. Daniel watched to see how she reacted to this assault. He saw at once she had the gift of repose: no twistings there, no squirmings, no fiddling with bracelet, fluffing hair, touching ears. She sat quietly, composed, and Daniel suddenly realized she was not listening to her critics. She was withdrawn from all of them.
She was gone but not, he guessed, day-dreaming. She was not floating; she had pulled back within herself, sinking deeper into her own thoughts, hungers, hopes. Those eyes, indecipherable as water, attended them, but he had a sense of her estrangement. He wanted to be in her country, if only for a visit, to look around and see what the place was like.
Flo paused for an answer to a question. But there was no answer. Celia Montfort merely regarded her with a somewhat glassy stare, her face expressionless. The moment was saved by the entrance of Blanche, pushing a big-three-shelved cart laden with hot and cold dishes, a pitcher of Bloody Marys, an iced bottle of sparkling rose.
The food was less unconventional than Blank had hoped, but still the poached eggs were sherried, the ham was in burgundy sauce, the mushroom omelette brandied, the walnut waffles swimming in rum-flavored maple syrup.
“Eat!” commanded Flo.
“Enjoy!” commanded Sam.
Daniel had a single poached egg, a strip of bacon, a glass of wine. Then he settled back with a bunch of chilled Concord grapes, listening to the Mortons’ chatter, watching Celia Montfort silently and intently devour an immense amount of food.
Afterward they had small, warmed Portuguese brandies. Daniel and the Mortons carried on a desultory conversation about Art Deco, a current fad. Celia’s opinion was asked, but she shook her head. “I know nothing about it.” After that she sat quietly, brandy glass clasped in both hands, eyes brooding. She had no talent for small talk. Complain of bad weather and she might, he thought, deliver you a sermon on humility. Strange woman. What was it Sam had said-“She scares you.” Why on earth should he have said that-unless he was referring to her disturbing silences, her alienation: which might be nothing more than egoism and bad manners.