The day when the dealer told him that, because of the considerable falling-off in sales, he was regretfully obliged to reduce the remittance, Jonas approved, but Louise was worried. It was September and the children had to be outfitted for school. She set to work herself with her customary courage and was soon swamped. Rose, who could mend and sew on buttons, could not make things. But her husband’s cousin could; she came to help Louise.
From time to time she would settle in Jonas’s room on a corner chair, where the silent woman would sit still for hours. So still that Louise suggested to Jonas painting a Seamstress. “Good idea,” Jonas said. He tried, spoiled two canvases, then went back to a half-finished sky.
The next day, he walked up and down in the apartment for some time and meditated instead of painting. A disciple, all excited, came to show him a long article he would not have seen otherwise, from which he learned that his painting was not only overrated but out of date. The dealer phoned him to tell him again how worried he was by the decline in sales. Yet he continued to dream and meditate.
He told the disciple that there was some truth in the article, but that he, Jonas, could still count on many good working years. To the dealer he replied that he understood his worry without sharing it. He had a big work, really new, to create; everything was going to begin all over again. As he was talking, he felt that he was telling the truth and that his star was there. All he needed was a good system.
During the ensuing days he tried to work in the hall, two days later in the shower-room with electric light, and the following day in the kitchen. But, for the first time, he was bothered by the people he kept bumping into everywhere, those he hardly knew and his own family, whom he loved. For a little while he stopped working and meditated. He would have painted landscapes out of doors if the weather had been propitious. Unfortunately, it was just the beginning of winter and it was hard to do landscapes before spring.
He tried, however, and gave up; the cold pierced him to the marrow. He lived several days with his canvases, most often seated beside them or else planted in front of the window; he didn’t paint any more.
Then he got in the habit of going out in the morning. He would give himself the assignment of sketching a detail, a tree, a lopsided house, a profile as it went by. At the end of the day, he had done nothing. The least temptation—the newspapers, an encounter, shopwindows, the warmth of a café—would lead him astray. Each evening he would keep providing good excuses to a bad conscience that never left him.
He was going to paint, that was certain, and paint better, after this period of apparent waste. It was all just working within him, and the star would come out newly washed and sparkling from behind these black clouds. Meanwhile he never left the cafés.
He had discovered that alcohol gave him the same exaltation as a day of good productive work at the time when he used to think of his picture with the affection and warmth that he had never felt except toward his children. With the second cognac he recovered that poignant emotion that made him at one and the same time master and servant of the whole world. The only difference was that he enjoyed it in a vacuum, with idle hands, without communicating it to a work. Still, this was closest to the joy for which he lived, and he now spent long hours sitting and dreaming in smoke-filled, noisy places.
Yet he fled the places and sections frequented by artists. Whenever he met an acquaintance who spoke to him of his painting, he would be seized with panic. He wanted to get away, that was obvious, and he did get away. He knew what was said behind his back: “He thinks he’s Rembrandt,” and his discomfort increased. In any event, he never smiled any more, and his former friends drew an odd and inevitable conclusion from this: “If he has given up smiling, this is because he’s very satisfied with himself.” Knowing that, he became more and more elusive and skittish.
It was enough for him, on entering a café, to have the feeling that someone there recognized him for everything to cloud over within him. For a second, he would stand there, powerless and filled with a strange sadness, his inscrutable face hiding both his uneasiness and his avid and sudden need for friendship. He would think of Rateau’s cheering look and would rush out in a hurry. “Just look at that guy’s hangover!” he heard someone say close to him one day as he was disappearing.
He now frequented only the outlying sections, where no one knew him. There he could talk and smile and his kindliness came back, for no one expected anything of him. He made a few friends, who were not very hard to please. He particularly enjoyed the company of one of them, who used to serve him in a station buffet where he often went.
That fellow had asked him “what he did in life.” “Painter,” Jonas had replied. “Picture-painter or house-painter?” “Picture.” “Well,” said the fellow, “that’s not easy.” And they had never broached the subject again. No, it was not easy, but Jonas would manage all right, as soon as he had found how to organize his work.
Day after day and drink after drink, he had many encounters, and women helped him. He could talk to them, before or after the love-making, and especially boast a little, for they would understand him even if they weren’t convinced. At times it seemed to him that his old strength was returning. One day when he had been encouraged by one of his female acquaintances, he made up his mind. He returned home, tried to work again in the bedroom, the seamstress being absent.
But after an hour of it he put his canvas away, smiled at Louise without seeing her, and went out. He drank all day long and spent the night with his acquaintance, though without being in any condition to desire her. In the morning, the image of suffering with its tortured face received him in the person of Louise. She wanted to know if he had taken that woman. Jonas said that, being drunk, he had not, but that he had taken others before.
And for the first time, his heart torn within him, he saw that Louise suddenly had the look of a drowned woman, that look that comes from surprise and an excess of pain. It dawned upon him that he had not thought of Louise during this whole time, and he was ashamed. He begged her forgiveness, it was all over, tomorrow everything would begin again as it had been in the past. Louise could not speak and turned away to hide her tears.
The following day Jonas went out very early. It was raining. When he returned, wet to the skin, he was loaded down with boards. At home, two old friends, come to ask after him, were drinking coffee in the big room. “Jonas is changing his technique. He’s going to paint on wood!” they said. Jonas smiled. “That’s not it. But I am beginning something new.” He went into the little hall leading to the shower-room, the toilet, and the kitchen. In the right angle where the two halls joined, he stopped and studied at length the high walls rising to the dark ceiling. He needed a stepladder, which he went down and got from the concierge.
When he came back up, there were several additional people in the apartment, and he had to struggle against the affection of his visitors, delighted to find him again, and against his family’s questions in order to reach the end of the hall. At that moment his wife came out of the kitchen. Setting down his ladder, Jonas hugged her against him. Louise looked at him. “Please,” she said, “never do it again.” “No, no,” Jonas said, “I’m going to paint. I must paint.” But he seemed to be talking to himself, for he was looking elsewhere. He got to work.
Halfway up the walls he built a flooring to get a sort of narrow, but high and deep, loft. By the late afternoon, all was finished. With the help of the ladder, Jonas hung from the floor of the loft and, to test the solidity of his work, chinned himself several times. Then he mingled with the others and everyone was delighted to find him so friendly again. In the evening, when the apartment was relatively empty, Jonas got an oil lamp, a chair, a stool, and a frame.
He took them all up into the loft before the puzzled gaze of the three women and the children. “Now,” he said from his lofty perch, “I’ll be able to work without being in anyone’s way.” Louise asked him if he were sure of it. “Of course,” he replied. “I don’t need much room. I’ll be freer. There have been great painters who painted by candlelight, and . . .” “Is the floor solid enough?” It was. “Don’t worry,” Jonas said, “it’s a very good solution.” And he came back down.
Very early the next day he climbed into the loft, sat down, set the frame on the stool against
