Sophie's Choice - William Styron [26]
But then I felt another nail amplify my crucifixion: they were going at it again upstairs on the accursed mattress. “Stop it!” I roared at the ceiling, and with my forefingers plugged up my ears. Sophie and Nathan! I thought. Fucking Jewish rabbits! Although they might have let up for a brief time, when I listened once more they were still in action—no riotous sport this go-round, however, and no cries or arias, only the bedsprings making a decorous rhythmical twanging—laconic, measured, almost elderly. I did not care that they had slowed down their pace. I hurried—truly raced—outside into the dusk and walked distractedly around the perimeter of the park. Then I began to stroll more slowly along, growing reflective. Walking underneath the trees, I began seriously to wonder if I had not made a grave mistake in coming to Brooklyn. It really was not my element, after all. There was something subtly and inexplicably wrong, and had I been able to use a turn of phrase current some years later, I might have said that Yetta’s house gave off bad vibrations. I was still shaken by that unmerciful, lascivious dream. By their very nature dreams are, of course, difficult of access through memory, but a few are forever imprinted on the brain. With me the most memorable of dreams, the ones that have achieved that haunting reality so intense as to be seemingly bound up in the metaphysical, have dealt with either sex or death. Thus Maria Hunt. No dream had produced in me that lasting reverberation since the morning nearly eight years before, soon after my mother’s burial, when, struggling up from the seaweed-depths of a nightmare, I dreamed I peered out the window of the room at home in which I was still sleeping and caught sight of the open coffin down in the windswept, drenched garden, then saw my mother’s shrunken, cancer-ravaged face twist toward me in the satin vault and gaze at me beseechingly through eyes filmed over with indescribable torture.
I turned back toward the house. I thought I would go and sit down and reply to my father’s letter. I wanted to ask him to tell me in greater detail the circumstances of Maria’s death—probably not knowing at the time, however, that my subconscious was already beginning to grapple with that death as the germinal idea for the novel so lamentably hanging fire on my writing table. But I did not write any such letter that evening. Because when I returned to the house I encountered Sophie in the flesh for the first time and fell, if not instantaneously, then swiftly and fathomlessly in love with her. It was a love which, as time wore on that summer, I realized had many reasons for laying claim to my existence. But I must confess that at first, certainly one of them was her distant but real resemblance to Maria Hunt. And what is still ineffaceable about my first glimpse of her is not simply the lovely simulacrum she seemed to me of the dead girl but the despair on her face worn as Maria surely must have worn it, along with the premonitory, grieving shadows of someone hurtling headlong toward death.
At the house Sophie and Nathan were embroiled in combat just outside the door of my room. I heard their voices clear on the summer night, and saw them battling in the hallway as I walked up the front steps.