it is easy to appear good, Edwina has been quite a success at it herself, but a good heart is quite a different matter, and disturbingly uncommon.
She is buried mid-calf in sucking wet sand, two girls dash past, deliberately close and threatening. She yells at them and they tell her to fuck off, two school-aged kids and she old enough to be their mother. She pulls her feet free and heads towards Port Melbourne. But it’s no use, like the girls she shouldn’t be at the beach at one o’clock on a Thursday, she should be home and at her computer putting Alexander Otto in order. But order has deserted her. She finds herself sticking pins into his perfect childhood, she makes him a cheat and a bully, she runs him off the rails. She flies with her creation and it’s a wonderful feeling, and the next day, returned to grey and sober mood, she reverts with guilty vigour to the main story. The work has become a voodoo doll, she sticks in the pins but the one who winces is herself.
These stirrings are not new, but like stray cats fossicking in suburban garbage have been easily placated. It was mid-way through her first biography that she chanced on the solution. She found herself writing two lives: the public version, clean and authoritative and just what the commissioning agents ordered, and the private account containing the dirt. And has used the same system ever since. When each job is finished, the raw data, notes and drafts of the public life are deposited in a filing cabinet, while the much smaller wad of private musings — the parallel life — is crammed into one of the cartons she keeps in the pit of her wardrobe. The wardrobe is her version of Dorian Gray’s attic, the dirty overflow of successful lives shoved in with her own failed scribblings. Here, in letters never sent, unfinished short stories, first chapters of half a dozen novels, gnawed-on poems, is the real Edwina no one ever sees. She never reads the stuff, couldn’t bear to, just every now and then adds a new wad to the latest carton, folds the flaps, arranges her shoes in front, drapes an old blanket on top, and shuts the door on her mouldering dreams.
Not knowing what else to do she persists with her private account of Alexander Otto, but it’s a scant document. She finds herself fingering the public version, dirtying the edges, fighting the temptation to topple him. The Otto biography is biting the hand that feeds it; somehow his hidden beasts are providing a feast for her own.
The problem with Otto is he has never suffered, not as an adopted child, nor a conservative student in the sixties, and certainly not as a physician and surgeon. She has tried all her techniques. She has prodded and poked, she has listened and encouraged, but apart from Rosie, the retarded aunt, and Sybil Becker, the failed love of his student days, his life has been as perfect as if it had been planned down to the last detail. Just like her own. Yet he is happy and she is not, he is a success and she seems suddenly very ordinary.
She turns around, the wind whipping her face and fear whipping her guts. And no point in blaming Otto; Edwina Frye, aficionado of fear, has engineered her life with elegant precision, but while Alexander, who has done much the same, possesses a life all sparkle and song, hers has been a gradual extinguishing of the lights. It is possible, she is now thinking, to be too thorough, for she finds herself a straggler, not in the life she planned, but the life she really wanted. Is she always condemned to trail in her own shadow? And who is it who marches up ahead flanked by success and admiring friends? It’s the person she put together piece by piece, the person she devised according to the rules. But it’s fake, exactly as she planned and true to the blue-print, but fake nonetheless. Follow your dreams, follow every rainbow; it works well enough in popular songs but not in real life.
Edwina has left a trail behind her as definitive as an engraver’s mark. She went from A to B to C, she did exactly as she intended, but somehow, and without realising it, she has backed herself into a corner. To arrive at the wrong destination inadvertently is bad enough, but to have plotted each move, to have made a journey both arduous and short on pleasure only to find herself in a place no better than that she was trying to avoid is failure of the worst sort. As for the fear, it remains as fierce and nebulous as it has always been.
All she ever wanted was to manage; quash her renegade self, so she believed, and she would be rewarded. She was born with an imagination that kept breaking its banks, and raised in a family lodged firmly in the high ground. ‘Don’t draw attention to yourself,’ punctuated her childhood, and ‘Concentrate on what’s in front of you,’ when she shared her imaginings. She acquired friends whose expectations seemed to change from one occasion to the next, and later came lovers wanting more than was safe to give. But still she managed. Yet now she finds herself staring into the smooth-skinned face of banality. Her work is competent but ordinary, her flat, described as a studio apartment to puff a scrap of bohemia into a beige and dun box, is ordinary, her appearance is ordinary — medium height, medium build, medium attractive — and while her hair is distinctive, the hairdresser says the red will fade and the curls will frizz, and she is thirty-nine which is the most ordinary feature of all.
But not the worst. Edwina envies Alexander Otto. Not his success, but the ease he enjoys. His dreams, far from rotting in the bottom of a wardrobe, have been realised, every single one of them. They’ve shaped his life, while Edwina’s have ambushed hers. At the most difficult times, she has been tempted to unburden herself to Nigel, but he wouldn’t believe her. Together with all her friends, Nigel is convinced that Edwina Frye need envy no one. Look at her, they say, as they sit at her dining table delighting in her food; look at her, they say, as she regales them with tales from the high and mighty; look at her, they say, as she does a fulminating Pastor Jim offering to save their souls for a price. Pastor Jim, chief minister of the Church of Universal Connection and the most interesting of her subjects, was on a comet to God and eager for others to ride with him. ‘All of you,’ Eddie says to her guests, ‘all of you come fly with me, it’s not too late to collect your boarding passes.’ And pulling out her shirt tails, ‘See,’ she says, ‘I’ve room for you all.’ And the friends laugh at the performance and savour the food and linger for more entertainment, and when at last they leave, Nigel takes Edwina in his arms. ‘My little comet,’ he says, ‘my own Hailey’s princess,’ and suggests they fly away to bed and leave the cleaning up for the morning.
Edwina writes her biographies, she cooks her banquets, she makes people laugh, and when her friends in more sombre mood download their troubles she knows how to listen and empathise. Edwina Frye need envy no one, so of course she does not confide in Nigel. She suspects that if she were to write a proper biography, plunge with the obsessive abandon of a lover into a life safely over, she would feel less of a fake. But she is not the type to plunge, she tests the water, she treads gently, she enters each day as if it were infested with crocodiles.
Edwina Frye has shaped herself with care, and this from her earliest years, as if she were born knowing the penalties of being different. And she was different, too clever for happiness, or so her parents thought, and too big for easy femininity. A big, clever girl, and her parents, or rather her mother — her father, a silent presence on weekends and family holidays, always gave the impression of being absent — would have preferred a daintier, less clever version. Born imperfect, she set about rectifying her faults, and those that couldn’t be fixed she was determined to hide. But it was far from easy. Among her earliest memories is her sense of bewilderment at kindergarten as she sat at the tiny table, the miniature chair cutting into her spine, while she watched the other children. It was like peering through one of those stereoscopic viewers, the scene so real and inviting and she trapped on the wrong side of the lens. She takes a step forward but is no closer, she puts out a hand but it closes on air, she sees what she most desires but is forced to remain at a distance. Bewilderment and the threat of exclusion. So she watched and she copied. She learned to cut and paste, she learned to climb the monkey bars despite her terror, and she kept her big-girl dreams and clever-girl desires hidden like jewels in a velvety box to glitter for her alone.
These days her external life is as decorous as a Flemish interior, and any doubts or discomforts she stuffs into notebooks and shoves into the depths of her wardrobe. The wardrobe is bursting, her neatly pressed clothes fighting for air. Edwina, who writes parallel lives for her prominent men has, she realises, constructed
