The Dutch House(2)
“How do you do?” Maeve said, and Andrea replied that she was very well.
Andrea was well. Of course she was. It had been Andrea’s goal for years to get inside the house, to loop her arm through our father’s arm when going up the wide stone steps and across the red-tiled terrace. She was the first woman our father had brought home since our mother left, though Maeve told me that he had had something going with our nanny for a while, an Irish girl named Fiona.
“You think he was sleeping with Fluffy?” I asked her. Fluffy was what we called Fiona when we were children, partly because I had a hard time with the name Fiona and partly because of the soft waves of red hair that fell down her back in a transfixing cloud. The news of this affair came to me as most information did: many years after the fact, in a car parked outside the Dutch House with my sister.
“Either that or she cleaned his room in the middle of the night,” Maeve said.
My father and Fluffy in flagrante delicto. I shook my head. “Can’t picture it.”
“You shouldn’t try to picture it. God, Danny, that’s disgusting. Anyway, you were practically a baby during the Fluffy administration. I’m surprised you’d even remember her.”
But Fluffy had hit me with a wooden spoon when I was four years old. I still have a small scar in the shape of a golf club beside my left eye—the mark of Fluffy, Maeve called it. Fluffy claimed she’d been cooking a pot of applesauce when I startled her by grabbing her skirt. She said she was trying to get me away from the stove and had certainly never meant to hit me, though I’d think it would be hard to accidentally hit a child in the face with a spoon. The story was only interesting insofar as it was my first distinct memory—of another person or the Dutch House or my own life. I didn’t have a single memory of our mother, but I remembered Fluffy’s spoon cracking into the side of my head. I remembered Maeve, who had been down the hall when I screamed, flying into the kitchen the way the deer would fly across the hedgerow at the back of the property. She threw herself into Fluffy, knocking her into the stove, the blue flames leaping as the boiling pot of applesauce crashed to the floor so that we were all burned in pinpoint splatters. I was sent to the doctor’s office for six stitches and Maeve’s hand was wrapped and Fluffy was dismissed, even though I could remember her crying and saying how sorry she was, how it was only an accident. She didn’t want to go. That was our father’s other relationship according to my sister, and she should know, because if I was four when I got that scar then she was already eleven.
As it happened, Fluffy’s parents had worked for the VanHoebeeks as their driver and cook. Fluffy had spent her childhood in the Dutch House, or in the small apartment over the garage, so I had to wonder, when her name came up again after so many years, where she would have gone when she was told to leave.
Fluffy was the only person in the house who had known the VanHoebeeks. Not even our father had met them, though we sat on their chairs and slept in their beds and ate our meals off their delftware. The VanHoebeeks weren’t the story, but in a sense the house was the story, and it was their house. They had made their fortune in the wholesale distribution of cigarettes, a lucky business Mr. VanHoebeek had entered into just before the start of the First World War. Cigarettes were given to soldiers in the field for purposes of morale, and the habit followed them home to celebrate a decade of prosperity. The VanHoebeeks, richer by the hour, commissioned a house to be built on what was then farmland outside of Philadelphia.
The stunning success of the house could be attributed to the architect, though by the time I thought to go looking I could find no other extant examples of his work. It could be that one or both of those dour VanHoebeeks had been some sort of aesthetic visionary, or that the property inspired a marvel beyond what any of them had imagined, or that America after the First World War was teeming with craftsmen who worked to standards long since abandoned. Whatever the explanation, the house they wound up with—the house we later wound up with—was a singular confluence of talent and luck. I can’t explain how a house that was three stories high could seem like just the right amount of space, but it did. Or maybe it would be better to say that it was too much of a house for anyone, an immense and ridiculous waste, but that we never wanted it to be different. The Dutch House, as it came to be known in Elkins Park and Jenkintown and Glenside and all the way to Philadelphia, referred not to the house’s architecture but to its inhabitants. The Dutch House was the place where those Dutch people with the unpronounceable name lived. Seen from certain vantage points of distance, it appeared to float several inches above the hill it sat on. The panes of glass that surrounded the glass front doors were as big as storefront windows and held in place by wrought-iron vines. The windows both took in the sun and reflected it back across the wide lawn. Maybe it was neoclassical, though with a simplicity in the lines that came closer to Mediterranean or French, and while it was not Dutch, the blue delft mantels in the drawing room, library, and master bedroom were said to have been pried out of a castle in Utrecht and sold to the VanHoebeeks to pay a prince’s gambling debts. The house, complete with mantels, had been finished in 1922.
“They had seven good years before the bankers started jumping out of windows,” Maeve said, giving our predecessors their place in history.
The first I ever heard of the property that had been sold off was that first day Andrea came to the house. She followed our father to the foyer and was looking out at the front lawn.