Roz has new clothes too, and a new name. She’s no longer Rosalind Greenwood, she’s Roz Grunwald. This, her parents explain, has been her real name all along. “Why wasn’t I called that before, then?” she asks.
“It was the war,” they say. “That name was too Jewish. It wasn’t safe.”
“Is it safe now?” she asks.
Not entirely. Different things are safe, where they are living now. By the same token, different things are dangerous.
Roz goes to a new school. She’s in high school now so she goes to Forest Hill Collegiate Institute. She’s no longer a Catholic: she’s renounced all of that—not without qualms, not without residue—in favour of being a Jew. Since there are so clearly sides, she would rather be on that one. She reads up on it because she wants to do it right; then she asks her father to—buy two sets of dishes, and refuses to eat bacon. Her father buys the dishes to humour her, but her mother won’t separate the meat dishes from the milk ones, and gives her a wounded look if she brings it up. Nor will her father join a temple. “I was never religious,” he says. “Like I always said—who owns God? If there was no religions there won’t be all this trouble:”
There are a lot of Jewish kids at Roz’s new school; in fact at this school Jewish is the thing to be. But whereas once Roz was not Catholic enough, now she isn’t Jewish enough. She’s an oddity, a hybrid; a strange half-person. Her clothes, although expensive, are subtly not right. Her accent is not right either. Her enthusiasms are not right, nor her skills: Chinese burns and kicking people in the shins and playing a nifty hand of poker cut no ice here. Added to that, she’s too big; also too loud, too clumsy, too eager to please. She has no smoothness, no boredom, no class.
She finds herself in a foreign country. She’s an iri-iiriigrant, a displaced person. Her father’s ship has come in, but she’s just off the boat. Or maybe it’s something else: maybe it’s the money. Roz’s money is plentiful, but it needs to be aged, like good wine or cheese. It’s too brash, too shiny, too exclamatory. It’s too brazen.
She is sent off to Jewish summer camp by her father because he’s found out that it’s the right thing to do with your children, here, in this country, in this city, in this neighbourhood, in the summer. He wants Roz to be happy, he wants her to fit in. He equates these things. But at camp she’s even more of an interloper, an obvious intruder: she has never played tennis, she’s never ridden a horse, she doesn’t know any of the cute folk dances from Israel or any of the mournful minor-key Yiddish songs. She falls off sailboats, into the freezing blue northern water of Georgian Bay, because she’s never been on a boat before; when she tries to water-ski she chickens out at the last minute, just before they gun the motor, and sinks like a stone. The first time she appears in a bathing suit, not that she really knows how to swim, a graceless flail is her basic style, she realizes you’re supposed to shave your armpits. Who could have been expected to tell her? Not her mother, who does not discuss the body. She has never been outside the city in her life. The other kids act as if they were born paddling a canoe and sleeping in smelly tents, but Roz can’t get used to the bugs.
She sits at the breakfast table in the log-cabin dining room, listening in silence while the other girls complain languidly about their mothers. Roz wants to complain about her mother too, but she’s found that her complaints don’t count because her mother isn’t Jewish. When she begins, with her rooming house stories, her stories of toilets and scrubbing, they roll their eyes and yawn delicately, like kittens, and change the subject back to their own mothers. Roz can’t possibly know, they imply. She can’t understand.
In the afternoons they do their hair up in rollers and lacquer their nails, and after the folk dances and singsongs and marshmallow roasts and Beatnik dress-up parties they are walked slowly back to their sleeping cabin by various boys, through the aromatic, painful dark, with its owl sounds and mosquitoes and its smell of pine needles, its flashlights blinking like fireflies, its languorous murmurs. None of these boys saunters over to joke with Roz, none stands with his arm propped on a tree, over her head. Well, not many of them are tall enough to do that, and anyway who wants to be seen with a part-shiksa hippo-hips fool? So Roz stays behind, to help clean up. God knows she’s an expert at that.
During arts and crafts, which Roz is no good at—her clay ashtrays look like cow patties, her belt woven on a primitive Inca-type hand loom like the cat got into it—she says she has to go to the bathroom, and wanders off to the kitchen to’ wheedle a pre-dinner snack. She has befriended the pastry cook, an old man who can make a row of ducks across a cake with butter icing in one burst of calligraphy, without lifting the decorator once. He shows Roz how, and how to make an icing rose too, and a stem with a leaf, “A rose without a leaf is like a woman without honour,” he says, bowing to her in a courtly, old-fashioned, European way, handing her the cake decorator to let her try. He lets her lick out the bowl, and tells her she is the right shape for a woman, not all bones like some here, he can tell she appreciates good food. He has an accent, like her uncles, and a faint blue number on his arm. It’s left over from the war, but Roz doesn’t ask about that, because nobody talks about the war here, not yet. The war is unmentionable.
Roz can see that she will never be prettier, daintier, thinner, sexier, or harder to impress than these girls are. She decides instead to be smarter, funnier, and richer, and once she has managed that they can all kiss her fanny. She takes to making faces; she resorts to the old rudeness of Huron Street, to get attention. Soon she has bulldozed a place for herself in the group: she is the joker. At the same time, she imitates. She picks up their accents, their intonations, their vocabulary; she adds layers of language to herself, sticking them on like posters on a fence, one glued over the top of the next, covering up the bare boards. As for the clothes, as for the accessories, those can be studied.
Roz made it through high school, which was not exactly an abode of bliss, understatement of the year. Much later she’d discovered—at a class reunion she couldn’t resist, because she had a great outfit for it and wanted to show off—that most of the other girls there had been as miserable as she was. Nor could they credit her own distress. “You were always so cheerful,” they said.
After high school Roz went to university. She took Art and Archaeology, which her father didn’t consider practical but which came in handy later in the renovation business; you never knew which little doodads from the past could be recycled. She arranged to live in residence, even though, as her mother pointed out, she had a perfectly good home to live in. But she wanted out, she wanted out from under, and she got her father to spring for it by threatening to run away to Europe or to some other university a million miles away unless he did. She picked McClung Hall because it was non-denominational. By that time she had dumped her excess Jewishness overboard, along with her excess Catholicism. Or so she thought. She wanted to travel light, and was happiest in a mixed bag.
The day Roz got her degree her father took her out for a treat, along with her mother and her increasingly seedy uncles. They went to a fancy restaurant where the menu was in French, with the English in small print underneath. For dessert there was ice cream, in various French flavours: cassis, fraise, citron, pistache.
“French was not one of my passports,” said Uncle Joe. “I’ll have the pastiche.”
That was me, thinks Roz. I was the pastiche.