Loot by Nadine Gordimer Page A

shoes drop and opened eyes to follow her clothes to the floor. She glides into bed, the cheek is still cold and the rest of her is her special warmth. Not today: waiting for the key to turn. Tomorrow. Again it will turn. Again and again.
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    They broach to one another the obligation—the usefulness, perhaps—of inviting him to bring her along some time. Sunday lunch? No, too familial a gesture, and Ba and Carl would not be there, why should Ginnie and Alister deal with this on their own, you can’t count on Jamie. Come by for a drink sixish, that would do. What’s she like—look like? The two men want to know in advance—after all, they are the father’s fellow males—what to expect in order to put themselves in his place. But the splash of stage lights drops a mask on faces, there were cavehollows of eyes, white cheeks, bright mouth. It was the hands in movement by which an identity was followed.
    The man who brings her to Ginnie’s house is another personage: their father? He who always listened, talks. Although this is not his home, he is not the host, he rises to refill glasses and offer snacks. He is courting her, in front of them, they see it! Their mother is much better-looking; still beautiful; this one has a long, thin, voracious face, the light did not exaggerate its hollows, and her intelligently narrowed eyes—hazel? greenish? doesn’t matter—are iconised by makeup in the style of Egyptian statues. She’s chosen a loose but clinging tunic and the sisters see that she has firm breasts. When they compare impressions afterwards it seems it was the women who noted this rather than, as they would have thought, the men. Her hands are unadorned
(the mother has had gifts of beautiful rings from him , over the years) and lie half-curled, the palms half-open on chair-arm or lap; it’s as if the hands’ lack of tension is meant to put them at ease, these hands that make music. And pleasure their father. She has a voice with what the women suspect as an adopted huskiness they believe men find attractive. It turns out no-one of the men—Jamie was present—noticed it either as an affectation or an attraction he might have responded to.
    The talk was quite animated and completely artificial; they were all other people; chatting about nothing that mattered to whom and what they really were. There are so many harmless subjects, you can really get along in any situation by sticking to what has been in the newspapers and on television about the floods/drought, the times of day to avoid driving in traffic congestion (keep off wars and politics, both local and international, those are intimate subjects), and, of course about music. It is the lover who brings that up; Ginnie and Ba would have preferred to keep off that, too. She might somehow sense how their eyes had been upon her while she played … He even boasts about her: Alicia will go with the orchestra to an international music festival in Montreal in the winter, and it will be particularly enjoyable for her because Alicia also speaks fluent French. He might be—ought to be—boring someone with the achievements of his seventeen-year-old grand-daughter, Ginnie’s eldest child. Ginnie’s biological after-thought, four-year-old Shaun, had been playing with his jeep around everyone’s feet. When the father and his woman were leaving, she bent to the child: I’ve got a little boy like you, you know. He has a collection of cars but I don’t think he has a jeep, yours’s great.
    They are not embarrassed about anything, these lovers.

    The new father of some other man’s progeny makes a pledge for the rainbow child. We’ll have to find one for him. Where did you get it?
    Shaun asserts the presence not admitted to the drinks party. My grandmother did bring it for me.
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    A curious—almost shaming—moment comes to the siblings and husbands when they suddenly laugh