The cook we had that year was a Polish woman named Anna Ostrovick, a summer cook. She was first-rate—a big, fat, hearty, industrious woman who took her work seriously. She liked to cook and to have the food she cooked appreciated and eaten, and whenever we saw her, she always urged us to eat. She cooked hot bread—crescents and brioches—for breakfast two or three times a week, and she would bring these into the dining room herself and say, “Eat, eat, eat!” When the maid took the serving dishes back into the pantry, we could sometimes hear Anna, who was standing there, say, “Good! They eat.” She fed the garbage man, the milkman, and the gardener. “Eat!” she told them. “Eat, eat!” On Thursday afternoons, she went to the movies with the maid, but she didn’t enjoy the movies, because the actors were all so thin. She would sit in the dark theatre for an hour and a half watching the screen anxiously for the appearance of someone who had enjoyed his food. Bette Davis merely left with Anna the impression of a woman who has not eaten well. “They are all so skinny,” she would say when she left the movies. In the evenings, after she had gorged all of us, and washed the pots and pans, she would collect the table scraps and go out to feed the creation. We had a few chickens that year, and although they would have roosted by then, she would dump food into their troughs and urge the sleeping fowl to eat. She fed the songbirds in the orchard and the chipmunks in the yard. Her appearance at the edge of the garden and her urgent voice—we could hear her calling “Eat, eat, eat”—had become, like the sunset gun at the boat club and the passage of light from Cape Heron, attached to that hour. “Eat, eat, eat,” we could hear Anna say. “Eat, eat …” Then it would be dark.
When Lawrence had been there three days, Anna called me into the kitchen. “You tell your mother,” she said, “that he doesn’t come into my kitchen. If he comes into my kitchen all the time, I go. He is always coming into my kitchen to tell me what a sad woman I am. He is always telling me that I work too hard and that I don’t get paid enough and that I should belong to a union with vacations. Ha! He is so skinny but he is always coming into my kitchen when I am busy to pity me, but I am as good as him, I am as good as anybody, and I do not have to have people like that getting into my way all the time and feeling sorry for me. I am a famous and a wonderful cook and I have jobs everywhere and the only reason I come here to work this summer is because I was never before on an island, but I can have other jobs tomorrow, and if he is always coming into my kitchen to pity me, you tell your mother I am going. I am as good as anybody and I do not have to have that skinny all the time telling how poor I am.”
I was pleased to find that the cook was on our side, but I felt that the situation was delicate. If Mother asked Lawrence to stay out of the kitchen, he would make a grievance out of the request. He could make a grievance out of anything, and it sometimes seemed that as he sat darkly at the dinner table, every word of disparagement, wherever it was aimed, came home to him. I didn’t mention the cook’s complaint to anyone, but somehow there wasn’t any more trouble from that quarter.
The next cause for contention that I had from Lawrence came over our backgammon games.
When we are at Laud’s Head, we play a lot of backgammon. At eight o’clock, after we have drunk our coffee, we usually get out the board. In a way, it is one of our pleasantest hours. The lamps in the room are still unlighted, Anna can be seen in the dark garden, and in the sky above her head there are continents of shadow and fire. Mother turns on the light and rattles the dice as a signal. We usually play three games apiece, each with the others. We play for money, and you can win or lose a hundred dollars on a game, but the stakes are usually much lower. I think that Lawrence used to play—I can’t remember—but he doesn’t play any more. He doesn’t gamble. This is not because he is poor or because he has any principles about gambling but because he thinks the game is foolish and a waste of time. He was ready enough, however, to waste his time watching the rest of us play. Night after night, when the game began, he pulled a chair up beside the board, and watched the checkers and the dice. His expression was scornful, and yet he watched carefully. I wondered why he watched us night after night, and, through watching his face, I think that I may have found out.
Lawrence doesn’t gamble, so he can’t understand the excitement of winning and losing money. He has forgotten how to play the game, I think, so that its complex odds can’t interest him. His observations were bound to include the facts that backgammon is an idle game and a game of chance, and that the board, marked with points, was a symbol of our worthlessness. And since he doesn’t understand gambling or the odds of the game, I thought that what interested him must be the members of his family. One night when I was playing with Odette—I had won thirty-seven dollars from Mother and Chaddy—I think I saw what was going on in his mind.
Odette has black hair and black eyes. She is careful never to expose her white skin to the sun for long, so the striking contrast of blackness and pallor is not changed in the summer. She needs and deserves admiration—it is the element that contents her—and she will flirt, unseriously, with any man. Her shoulders were bare that night, her dress was cut to show the division of her breasts and to show her breasts when she leaned over the board to play. She kept losing and flirting and making her losses seem like a part of the flirtation. Chaddy was in the other room. She lost three games, and when the third game ended, she fell back on the sofa and, looking at me squarely, said something about going out on the dunes to settle the score. Lawrence heard her. I looked at Lawrence. He seemed shocked and gratified at the same time, as if he had suspected all along that we were not playing for anything so insubstantial as money. I may be wrong, of course, but I think that Lawrence felt that in watching our backgammon he was observing the progress of a mordant tragedy in which the money we won and lost served as a symbol for more vital forfeits. It is like Lawrence to try to read significance and finality into every gesture that we make, and it is certain of Lawrence that when he finds the inner logic to our conduct, it will be sordid.
Chaddy came in to play with me. Chaddy and I have never liked to lose to each other. When we were younger, we used to be forbidden to play games together, because they always ended in a fight. We think we know each other’s mettle intimately. I think he is prudent; he thinks I am foolish. There is always bad blood when we play anything—tennis or backgammon or softball or bridge—and it does seem at times as if we were playing for the possession of each other’s liberties. When I lose to Chaddy, I can’t sleep. All this is only half the truth of our competitive relationship, but it was the half-truth that would be discernible to Lawrence, and his presence at the table made me so self-conscious that I lost two games. I tried not to seem angry when I got up from the board. Lawrence was watching me. I went out onto the terrace to suffer there in the dark the anger I always feel when I lose to Chaddy.