The Witching Hour by Anne Rice
"She'd be a good writer if she'd write about what she knows," said one young woman in a bar who claimed to have once been Sean's lover. "But she writes these morbid fantasies about an old violet-colored house in New Orleans and a ghost who lives there--all very high-pitched, and hardly what will sell. She really ought to get away from all that rot and write about her experiences here in New York."
Neighbors were fond of the young couple. "She can't cook or do anything practical," reported a female painter who lived above them, "but then why should she? She pays all the bills as it is. I asked Sean one time wherever does she get her money? He said she had a bottomless purse. All she ever had to do was reach in it. Then he laughed."
Finally in the winter of 1940, Elaine Barrett, writing from London, urged our most responsible private investigator in New York to attempt to interview Antha. Elaine wanted desperately to go to New York herself, but it was out of the question. So she talked directly by phone to Allan Carver, a suave and sophisticated man who had worked for us for many years. Carver was a well-dressed and well-mannered gentleman of fifty. He found it a simple matter to make contact. A pleasure, in fact.
"I followed her to the Metropolitan Museum of Art, then happened upon her as she was sitting in front of one of the Rembrandts, just staring at it, rather lost in her thoughts. She is pretty, quite pretty, but very Bohemian. She was all wrapped up in wool that day, with her hair loose. I sat down beside her, flashed a copy of Hemingway's short stories, and engaged her in conversation about him. Yes, she'd read Hemingway and she loved him. Did she love Rembrandt? Yes, she did. How about New York in general? Oh, she loved living here. She never wanted to be anyplace else. The city of New York was a person to her. She had never been so happy as she was now.
"There wasn't a chance of getting her out of there with me. She was too guarded, too proper. So I made the most of it as quickly as I could.
"I got her talking about herself, her life, her husband, and her writing. Yes, she wanted to be a writer. And Sean wanted her to be. Sean wouldn't be happy unless she was successful too. 'You know, the only thing I can be is a writer,' she said. 'I'm absolutely unprepared for anything else. When you've lived the kind of life I have, you are good for nothing. Only writing can save you.' It was all very touching actually, the way she spoke about it. She seemed altogether defenseless and absolutely genuine. I think, had I been thirty years younger, I would have fallen in love with her.
" 'But what kind of life did you have?' I pressed her. 'I can't place your accent. But I know you're not from New York.'
" 'Down south,' she said. 'It's another world.' She grew sad instantly, even agitated. 'I want to forget all that,' she said, 'I don't mean to be rude, but I've made this rule for myself. I'll write about my past but I won't talk about it. I'll turn it into art if I can, but I won't talk about it. I won't give it life here, outside of art, if you follow what I mean.'
"I found this rather clever and interesting. I liked her. I cannot tell you how much I liked her. And you know, in my line of work, one gets so accustomed to just using people!
" 'Well, then tell me about what you write,' I begged. 'Just tell me about one of your stories for instance, assuming you write stories, or tell me about your poems.'
" 'If they're any good, you'll read them some day,' she said, and then she gave me a parting smite and left. I think she'd become suspicious. I don't know really. She was glancing around in a rather defensive way the whole time we talked. I even asked her at one point if she was expecting someone. She said not really, but 'You never know.' She acted as if she thought someone was watching her. And of course my people were watching her all the time. I felt pretty uncomfortable about it at that moment, I can tell you."
Reports continued to pour in for months that Antha and Sean were happy. Sean, a big burly individual with an endearing sense of humor, had a one-man show in the Village which was quite a success. Antha had a short poem (seven lines) in The New Yorker. The couple were ecstatic. Only in April of 1941 did the gossip change.
"Well, she's pregnant," said the upstairs painter, "and he doesn't want the baby, you know, and of course she wants it and God knows what's going to happen. He knows a doctor who can take care of it, you see, but she won't hear of it. I hate to see her going through this, really. She's much too fragile. I hear her crying down there in the night."
On July 1, Sean Lacy died in a single car accident (mechanical failure) coming back from a visit to his ailing mother in upstate New York. A hysterical Antha had to be hospitalized at Bellevue. "We just didn't know what to do with her," said the upstairs painter. "For eight hours straight she screamed. Finally we called Bellevue. I'll never know if we did the right thing."
Records at Bellevue indicate Antha stopped screaming or indeed making any sound or movement as soon as she was admitted. She remained catatonic for over a week. Then she wrote the name "Cortland Mayfair" on a slip of paper, along with the words "Attorney, New Orleans." Cortland's firm was contacted at ten-thirty the following morning. At once Cortland called his estranged wife, Amanda Grady Mayfair, in New York and begged her to go to Bellevue and see to Antha until he could get there himself.
A horrid battle then began between Cortland and Carlotta, Cortland insisting that he should take care of Antha because Antha had sent for him. Contemporary gossip tells us Carlotta and Cortland took the train together to New York to get Antha and bring her home.
At an emotional drunken lunch, Amanda Grady Mayfair poured out the whole story to her friend (and our informant) Allan Carver, who made it a point to inquire about her old southern family and its gothic goings-on. Amanda told him all about the poor little niece in Bellevue:
" ... It was simply awful. Antha couldn't talk. She couldn't. She'd tried to say something and she'd simply stammer. She was so fragile. The death of Sean had destroyed her utterly. It was twenty-four hours before she wrote down the address of the apartment in Greenwich Village. I went there immediately with Ollie Mayfair, you know, one of Remy's grandchildren, and we got Antha's things. Oh, it was so sad. Of course all Sean's paintings belonged to Antha, as she was his wife, I supposed; but then the neighbors came in and they told us Antha had never married Sean. Sean's mother and brother had already been there. They were coming back with a truck to take everything away. Seems that Sean's mother despised Antha because she believed Antha had led her son into this Greenwich Village artist life.
"I told Ollie, well, they can have everything else but they aren't taking the portraits of Antha. I took those and all her clothes and things, and this old velvet purse filled with gold coins. Now, I'd heard of that purse, and don't tell me you haven't if you know the Mayfairs. And her writings, oh, yes, her writings. I packed up all of that--her stories, and chapters of a novel, and some poems she'd written. And do you know later on I found out she'd published a poem in The New Yorker. The New Yorker. But I didn't find out about that until my son, Pierce, told me. And he went to the library and looked it up. It was very brief, something about snow falling and the museum in the park. Not what I would call a poem, actually. Rather a little bit of life, so to speak. But she was published in The New Yorker. That is the point. It was so sad taking everything out of that apartment. You know, dismantling a life.
"When I got back to the hospital, Carlotta and Cortland were already there. They were fighting with each other in the hallway. But you had to see and hear a fight between Carl and Cort to believe it, it was all whispers, and little gestures, and tight lips. It was really something. But there they stood, talking to each other like that and I knew they were ready to kill each other.
" 'That girl's pregnant you know,' I said. 'Did the doctors tell you?'
" 'She ought to get rid of it,' Carl said. I thought Cortland was going to die. I was so shocked myself I didn't know what to say.
"I absolutely hate Carlotta. I don't care who knows it. I hate her. I have hated her all my life. It gives me nightmares to think of her being alone with Antha. I told Cortland right
"But Cortland had tried to get custody of Antha, he had tried it in the very beginning, and Carlotta had threatened to fight him, to expose all kinds of things about us, she said. Oh, she is dreadful. And Cortland had given up. And I think he knew he wasn't going to get control of Antha now. 'Look, Antha's a woman now,' I said. 'Ask her where she wants to go. If she wants to stay in New York she can stay with me. She can stay with Ollie.' Not a chance!
"Carlotta went in to talk to those doctors. She did her routine. She managed some sort of official transfer of Antha to a mental hospital in New Orleans. She ignored Cortland as if he wasn't even there. I got on the phone to all the cousins in New Orleans. I called everyone. I even called young Beatrice Mayfair on Esplanade Avenue--Remy's granddaughter. I told them that child was sick, and she was pregnant and she needed loving care.
"Then the most sad thing happened. They were taking Antha to the train station, and she gestured for me to come over to her, and she whispered in my ear. 'Save my things for me, please, Aunt Mandy. She'll throw them all away if you don't,' and to think I had already shipped all her things back home. I called my son Sheffield and told him about it. I said, 'Sheff, do what you can for her when she gets back.' "
Antha traveled back to Louisiana by train with her uncle and her aunt, and was immediately committed to St. Ann's Asylum, where she remained for six weeks. Numerous Mayfair cousins came to see her. Family gossip indicated she was pale and at times incoherent but that she was coming along just fine.
In New York, our investigator Allan Carver arranged another chance meeting with Amanda Grady Mayfair. "How is the little niece coming along?"
"Oh, I could tell you the worst story!" said Amanda Grady Mayfair. "You cannot imagine. Do you know that girl's aunt told the doctors in the asylum she wanted them to abort the girl's baby? That she was congenitally insane and must never be allowed to have a child? Have you ever heard anything worse? When my husband told me that I told him if you don't do something now, I'll never forgive you. Of course he said no one was going to hurt that baby. The doctors weren't going to do such a thing, not for Carlotta, not for anyone. Then when I called Beatrice Mayfair on Esplanade Avenue and told her all about it, Cortland was furious. 'Don't get everybody up in arms,' he said. But that is exactly what I meant to do. I told Bea, 'Go see her. Don't let anyone keep you out.' "
The Talamasca has never been able to corroborate the story about the proposed abortion. But nurses at St. Ann's later told our investigators that scores of Mayfair cousins came to see Antha at the asylum.
"They are not taking no for an answer," Irwin Dandrich wrote. "They insist upon seeing her, and by all reports she is doing well. She is excited about her baby, and of course they have deluged her with presents. Her young cousin, Beatrice, brought her some antique lace baby clothes that had once belonged to somebody's Great-aunt Suzette. Of course, it is common knowledge here that Antha never married the New York artist; but then what does it matter when your name is Mayfair, and Mayfair it will always be."
The cousins proved just as aggressive after Antha was released from St. Ann's and came home to First Street to convalesce in Stella's old bedroom on the north side of the house. She had nurses with her round the clock, and obtaining information from them proved very simple for our investigators.
The place was described as "insufferably dreary." But Millie Dear and Belle took excellent care of Antha. In fact, they didn't leave the nurses much to do at all. Millie Dear sat with Antha all the time on the little upstairs porch outside her bedroom. And Belle knitted beautiful clothes for the baby.
Cortland stopped by every evening after work. "The lady of the house didn't want him there, I don't believe," said one of the nurses. "But he came. Without fail he came. He and another young gentleman, I believe his name was Sheffield. They sat with the patient every night for a little while and talked."
Family gossip said that Sheffield had read some of Antha's writings from the New York days, and that Antha was "very good." The nurses talked about the boxes from New York--crates of books and papers, which Antha examined but was too weak in general to truly unpack.
"I don't really see anything mentally wrong with her," said one of the nurses. "The aunt takes us out in the hallway and asks us the strangest questions. She implies the girl is congenitally insane, and may harm someone. But the doctors didn't say anything to us about it. She's a quiet, melancholy girl. She looks and sounds much younger than she is. But she's not what I would call insane."
Deirdre Mayfair was born on October 4, 1941, at the old Mercy Hospital on the river, which was later torn down. Apparently the birth presented no particular difficulty, and Antha was heavily anesthetized as was the custom in those days. Mayfairs packed the corridors of the hospital during visiting hours for the entire five days that Antha was there. Her room was full of flowers. The baby was a beautiful healthy little girl.
But the flow of information, so dramatically increased with the involvement of Amanda Grady Mayfair, came to an abrupt halt two weeks after Antha returned home. The cousins found themselves turned away by the black maid, Aunt Easter, or by Nancy when they came for their second and third visits. Indeed, Nancy had quit her job as a file clerk to take care of the baby ("Or to lock us out!" said Beatrice to Amanda long distance) and she was adamant that the mother and the baby not be disturbed.
When Beatrice called to inquire about the christening, she was told the baby had already been baptized at St. Alphonsus. Outraged, she called Amanda in New York. Some twenty of the cousins "crashed" the house on a Sunday afternoon.
"Antha was overjoyed to see them!" said Amanda to Allan Carver. "She was simply thrilled. She had no idea they'd been calling and dropping by. No one had even told her. She didn't know people gave parties for a christening. Carlotta had arranged everything. She was hurt when she realized what had happened, and everyone changed the subject at once. But Beatrice was furious with Nancy. But Nancy is just doing what Carlotta told her to do."
On October 30 of that year, Antha was officially declared the recipient and full manager of the Mayfair legacy. She signed a power of attorney naming Cortland and Sheffield Mayfair as her legal representatives in all matters concerning the money; and she requested that they immediately establish a large trust for the management of the "restoration" of the First Street house. She expressed concern about the condition of the entire property.
Legal gossip says that Antha was stunned to discover that she owned the place. She had never had the slightest idea. She wanted to redecorate, paint, restore everything.
Carlotta was not at Antha's meeting with her uncles. Carlotta had demanded of the law firm of Mayfair and Mayfair that they provide her with a complete audit on behalf of Antha of everything that had been done since Stella's death, saying that the present records were inadequate, and she refused to participate in any sort of legal discussion until she received this audit "for review."
Sheffield told his mother, Amanda, later, that Antha had been deliberately misled with regard to the legacy. She seemed hurt and even a little shocked as things were explained to her. And it was Carlotta who had hurt her. But all she would say was that Carlotta had probably had her good in mind all along.
The party went for a late lunch at Galatoire's to celebrate. Antha was nervous about leaving the baby, but she seemed to have a good time. As they were leaving, Sheffield heard her ask his father the following question: "Then you mean she couldn't have thrown me out of the house if she had wanted to? She couldn't have put me on the street?"
"It's your house, ma cherie," Cortland told her. "She has permission to live there, but that is subject entirely to your approval."
Antha looked so sad. "She used to threaten me," she said under her breath. "She used to say she'd put me in the street if I didn't do what she said."
Cortland then took Antha away from the party and drove her home alone.
Antha and the baby went to lunch a few days
She wanted to repair the swimming pool. She talked about her mother a little, how her mother had loved to give big parties. She seemed full of life.
Indeed, several contractors were approached to give estimates for "a complete restoration, including painting, carpentry repairs and some masonry work." Neighbors were delighted to hear this from the servants. Dandrich wrote that a distinguished architectural firm had been consulted about rebuilding the carriage house.
Antha wrote a brief letter to Amanda Grady Mayfair in mid-November, thanking her for her help in New York. She thanked her for forwarding the mail from Greenwich Village. She said that she was writing short stories, and working on her novel again.
When Mr. Bordreaux, the mailman, passed on his regular rounds at nine A.M. on December 10, Antha was waiting for him at the gate. She had several large manila envelopes ready to go to New York. Could she buy the postage from him? They made a guess at the weight--she said she couldn't leave the baby to go to the post office--and he took the packages with him. Antha also gave him a bundle of regular mail for various New York addresses.
"She was all excited," he said. "She was going to be a writer. Such a sweet girl. And I'll never forget. I made some remark about the bombing of Pearl Harbor, that my son had enlisted the day before, and now we were in the war at last. And do you know? She'd never heard a thing about it. She didn't even know about the bombing, or the war. Just like she was living in a dream."
The "sweet girl" died that very afternoon. When the same postman came around with the afternoon mail at three-thirty, there was a cloudburst over that area of the Garden District. It was raining "cats and dogs." Yet a crowd was assembled in the Mayfair garden, and the undertaker's wagon was in the middle of the street. The wind was blowing "something fierce." Mr. Bordreaux hung around in spite of the weather.