caricature.
Hugo says rightly that it takes great hate to make a caricature. Henry and my friend Natasha [Troubetskoi] have great hates. I do not. Everything with me is either worship and passion or pity and understanding. I hate rarely, though when I hate, I hate murderously. For example now, I hate the bank and everything connected with it. I also hate Dutch paintings, penis-sucking, parties, and cold rainy weather. But I am more preoccupied with loving.
I am absorbed by Henry, who is uncertain, self-critical, sincere. I get a tremendous and selfish pleasure out of our gift of money to him. What do I think of when I sit by the fire? To get a bunch of railroad tickets for Henry; to buy him
Albertine disparue.
Henry wants to read
Albertine disparue
? Quick, I won't be happy until he has the book. I am an ass. Nobody likes to have these things done for them, nobody but Eduardo, and even he, in certain moods, prefers utter indifference. I would like to give Henry a home, marvelous food, an income. If I were rich, I would not be rich very long.
Drake no longer interests me in the least. I was relieved he did not come today. Henry interests me, but not physically. Is it possible I might at last be satisfied with Hugo? It hurt me when he left for Holland today. I felt old, detached.
A startlingly white face, burning eyes. June Mansfield, Henry's wife. As she came towards me from the darkness of my garden into the light of the doorway I saw for the first time the most beautiful woman on earth.
Years ago, when I tried to imagine a true beauty, I had created an image in my mind of just that woman. I had even imagined she would be Jewish. I knew long ago the color of her skin, her profile, her teeth.
Her beauty drowned me. As I sat in front of her I felt that I would do anything mad for her, anything she asked of me. Henry faded. She was color, brilliance, strangeness.
Her role in life alone preoccupies her. I knew the reasons: her beauty brings dramas and events to her. Ideas mean little. I saw in her a caricature of the theatrical and dramatic personage. Costume, attitudes, talk. She is a superb actress. No more. I could not grasp her core. Everything Henry had said about her was true.
By the end of the evening I was like a man, terribly in love with her face and body, which promised so much, and I hated the self created in her by others. Others feel because of her; and because of her, others write poetry; because of her, others hate; others, like Henry, love her in spite of themselves.
June. At night I dreamed of her, as if she were very small, very frail, and I loved her. I loved a smallness which had appeared to me in her talk: the disproportionate pride, a hurt pride. She lacks the core of sureness, she craves admiration insatiably. She lives on reflections of herself in others' eyes. She does not dare to be herself. There is no June Mansfield. She knows it. The more she is loved, the more she knows it. She knows there is a very beautiful woman who took her cue last night from my inexperience and tried to lose her depth of knowledge.
A startlingly white face retreating into the darkness of the garden. She poses for me as she leaves. I want to run out and kiss her fantastic beauty, kiss it and say, "You carry away with you a reflection of me, a part of me. I dreamed you, I wished for your existence. You will always be part of my life. If I love you, it must be because we have shared at some time the same imaginings, the same madness, the same stage.
"The only power which keeps you together is your love for Henry, and for that, you love him. He hurts you, but he keeps your body and soul together. He integrates you. He lashes and whips you into occasional wholeness. I have Hugo."
I wanted to see her again. I thought Hugo would love her. It seemed so natural to me that everybody should love her. I talked to Hugo about her. I felt no jealousy.
When she came out of the dark again, she seemed even more beautiful to
Ann Voss Peterson, J.A. Konrath