The Corrections

Smells of sun-warmed creosote and cold mussels, of boat fuel and football fields and drying kelp, an almost genetic nostalgia for things maritime and things autumnal, beset Enid as she limped from the gangway toward the tour bus. The day was dangerously beautiful. Big gusts and related clouds and a fierce lion of a sun blew the gaze around, agitating Newport’s white clapboard and mown greens, making them unseeable straight on. “Folks,” the tour guide urged, “just sit back and drink it in.” But that which can be drunk can also drown. Enid had slept for six of the previous fifty-five hours, and even as Sylvia thanked her for inviting her along she found she had no energy for touring. The Astors and the Vanderbilts, their pleasure domes and money: she was sick of it. Sick of envying, sick of herself. She didn’t understand antiques or architecture, she couldn’t draw like Sylvia, she didn’t read like Ted, she had few interests and no expertise. A capacity for love was the only true thing she’d ever had. And so she tuned out the tour guide and heeded the October angle of the yellow light, the heart-mangling intensities of the season. In the wind pushing waves across the bay she could smell night’s approach. It was coming at her fast: mystery and pain and a strange yearning sense of possibility, as though heartbreak were a thing to be sought and moved toward. On the bus between Rosecliff and the lighthouse, Sylvia offered Enid a cell phone so she could give Chip a call. Enid declined, since cell phones ate dollars and she thought a person might incur charges simply by touching one, but she made this statement: “It’s been years, Sylvia, since we had a relationship with him. I don’t think he tells us the truth about what he’s doing with his life. He said once he was working for the Wall Street Journal. Maybe I misheard him, but I think that’s what he said, but I don’t think that’s really where he’s working. I don’t know what he does for a living really. You must think it’s awful of me to complain about this, when you’ve had things so much worse.” In Sylvia’s insistence that it wasn’t awful, not at all, Enid glimpsed how she might confess an even more shameful thing or two, and how this exposure to the public elements might, while painful, offer solace. But like so many phenomena that were beautiful at a distance—thunderheads, volcanic eruptions, the stars and planets—this alluring pain proved, at closer range, to be inhuman in its scale. From Newport the Gunnar Myrdal sailed east into sapphire vapors. The ship felt stifling to Enid after an afternoon’s exposure to big skies and the tanker-size playpens of the superwealthy, and though she won sixty more dollars in the Stringbird Room she felt like a lab animal caged with other lever-yanking animals amid the mechanized blink and burble, and bedtime came early, and when Alfred began to stir she was already awake listening to the anxiety bell ringing with such force that her bed frame vibrated and her sheets were abrasive, and here was Alfred turning on lights and shouting, and a next-door neighbor banging on the wall and shouting back, and Alfred stock-still listening with his face twisted in paranoid psychosis and then whispering conspiratorially that he’d seen a t**d run between the beds, and then the making and unmaking of said beds, the application of a diaper, the application of a second diaper to address some hallucinated exigency, and the balking of his nerve-damaged legs, and the bleating of the word “Enid” until he nearly wore it out, and the woman with the rawly abraded name sobbing in the dark with the worst despair and anxiety she’d ever felt until finally—like an overnight traveler arriving at a train station differing from the dismal ones before it only in the morning twilight, the small miracles of restored visibility: a chalky puddle in a gravel parking lot, the steam twisting from a sheet-metal chimney—she was brought to a decision.

On her map of the ship, at the stern end of the “D” Deck, was the universal symbol of aid for those in need. After breakfast she left her husband in conversation with the Roths and made her way to this red cross. The physical thing corresponding to the symbol was a frosted-glass door with three words lettered on in gold leaf. “Alfred” was the first word and “Infirmary” was the third; the sense of the middle word was lost in the shadows cast by “Alfred.” She studied it fruitlessly. No. Bel. Nob-Ell. No Bell.

All three words retreated as the door was pulled open by a muscular young man with a name tag pinned to a white lapel: Mather Hibbard, M.D. He had a large, somewhat coarse-skinned face like the face of the Italian-American actor people loved, the one who once starred as an angel and another time as a disco dancer. “Hi, how are you this morning?” he said, showing pearly teeth. Enid followed him through a vestibule into the inner office, where he directed her to the chair by his desk.