Lolita - Vladimir Nabokov [44]
“The Haze woman, the big bitch, the old cat, the obnoxious mamma, the—the old stupid Haze is no longer your dupe. She has—she has …”
My fair accuser stopped, swallowing her venom and her tears. Whatever Humbert Humbert said—or attempted to say—is inessential. She went on:
“You’re a monster. You’re a detestable, abominable, criminal fraud. If you come near—I’ll scream out the window. Get back!”
Again, whatever H.H. murmured may be omitted, I think.
“I am leaving tonight. This is all yours. Only you’ll never, never see that miserable brat again. Get out of this room.”
Reader, I did. I went up to the ex-semi-studio. Arms akimbo, I stood for a moment quite still and self-composed, surveying from the threshold the raped little table with its open drawer, a key hanging from the lock, four other household keys on the table top. I walked across the landing into the Humberts’ bedroom, and calmly removed my diary from under her pillow into my pocket. Then I started to walk downstairs, but stopped halfway: she was talking on the telephone which happened to be plugged just outside the door of the living room. I wanted to hear what she was saying: she canceled an order for something or other, and returned to the parlor. I rearranged my respiration and went through the hallway to the kitchen. There, I opened a bottle of Scotch. She could never resist Scotch. Then I walked into the dining room and from there, through the half-open door, contemplated Charlotte’s broad back.
“You are ruining my life and yours,” I said quietly. “Let us be civilized people. It is all your hallucination. You are crazy, Charlotte. The notes you found were fragments of a novel. Your name and hers were put in by mere chance. Just because they came handy. Think it over. I shall bring you a drink.”
She neither answered nor turned, but went on writing in a scorching scrawl whatever she was writing. A third letter, presumably (two in stamped envelopes were already laid out on the desk). I went back to the kitchen.
I set out two glasses (to St. Algebra? to Lo?) and opened the refrigerator. It roared at me viciously while I removed the ice from its heart. Rewrite. Let her read it again. She will not recall details. Change, forge. Write a fragment and show it to her or leave it lying around. Why do faucets sometimes whine so horribly? A horrible situation, really. The little pillow-shaped blocks of ice—pillows for polar teddy bear, Lo—emitted rasping, crackling, tortured sounds as the warm water loosened them in their cells. I bumped down the glasses side by side. I poured in the whiskey and a dram of soda. She had tabooed my pin. Bark and bang went the icebox. Carrying the glasses, I walked through the dining room and spoke through the parlor door which was a fraction ajar, not quite space enough for my elbow.
“I have made you a drink,” I said.
She did not answer, the mad bitch, and I placed the glasses on the sideboard near the telephone, which had started to ring.
“Leslie speaking. Leslie Tomson,” said Leslie Tomson who favored a dip at dawn. “Mrs. Humbert, sir, has been run over and you’d better come quick.”
I answered, perhaps a bit testily, that my wife was safe and sound, and still holding the receiver, I pushed open the door and said:
“There’s this man saying you’ve been killed, Charlotte.”
But there was no Charlotte in the living room.
23
I rushed out. The far side of our steep little street presented a peculiar sight. A big black glossy Packard had climbed Miss Opposite’s sloping lawn at an angle from the sidewalk (where a tartan laprobe had dropped in a heap), and stood there, shining in the sun, its doors open like wings, its front wheels deep in evergreen shrubbery. To the anatomical right of this car, on the trim turf of the lawn-slope, an old gentleman with a white mustache, well-dressed—doublebreasted gray suit, polka-dotted bow-tie—lay supine, his long legs together, like a death-size wax figure. I have to put the impact of an instantaneous vision into a sequence of words; their physical accumulation in the page impairs the actual flash, the sharp unity of impression: Rug-heap, car, old man-doll, Miss O.