The Fifties were an idyllic time. America had just won the war against Japan and Germany, GIs were returning home to build families and restore the faith in God and country so tested by Hirohito and Hitler.
Everything was perfect in New Brighton, the small New England town setting for the story of Bettina Alston, a housewife and mother who represented the best American values - fidelity, caring, love and affection, and civic pride.
Every Thursday afternoon while the children were still in school, Bettina volunteered at the local hospital, greeting new patients, comforting those who brought them, and instilling a sense of confidence and trust. The hospital was one of Connecticut's best.
On Tuesday mornings she chaired the Ladies' Auxiliary of the hospital, a group who had been responsible for the fresh flowers on the surgical wards, hot chocolate and donuts on the pediatric floor, and cute little blue and pink stuffed animals for new mothers.
On Friday morning she played bridge with 'the girls', wives of doctors at New Brighton General. Anita Lacava brought the sweet rolls, Marfa Potter the almond cookies, and Elena Fitch an urn of coffee. In the Spring if the weather was good, they played cards outside on the terrace overlooking the rose garden; and in the winter in the living room which Bettina had appointed with a Carrera marble fireplace, Venetian sconces, and Florentine lamps.
'Too Italian' advised her husband, but there was nothing appealing about old English chairs, highboys, and settees. Bettina could never understand the appeal of Revere, Townsend, and Copley.
Her house was one of the finest on Lincoln Street, classically Georgian with impressive Ionic columns, a cute breezeway, New Hampshire shrubbery and a garden that had been featured in New England Home.
Then one fine May morning while she was sitting on the patio, taking a break from making the canapes for her dinner guests on Saturday, something did not seem right. The bluebirds were at the bird feeder, the robins were fluttering in the birdbath, the squirrels were chasing each other in the trees, and the sound of distant traffic hummed in a low vibrato; but today it all looked and sounded different.
Everything suddenly stopped in place. A squirrel sat up and didn't move. The birdbath was calm and the chirping of the bluebirds pecking at the feeder quieted. It was like a freeze frame of a movie, an abrupt halt to the action which brought the viewer almost breathtakingly close to scene. You could almost smell Marilyn's perfume.
Yet there was nothing intimate or settling about the scene that Bettina witnessed. In fact it was disconcerting. Not exactly the panic attack that Irma Carlson had told her about, the day that she got into her Plymouth and everything seemed strange and unfamiliar. She sat dumbly with her hands on the wheel, confused and unsure not only what to do but why she was there in the first place. The garage itself seemed to be closing in on her on all sides, the tools, pitchforks, old tires, and sleds placed there by someone else, an intruder, a stranger.
No, this vision of Bettina was nothing like that, and just as quickly as the frame had frozen, life resumed. Yet she was troubled by the vision, worried that some untoward and insidious thing was brewing inside her head.
The doorbell rang, and it was Mr. Swensen, the plumber. 'I've come to fix your pipes', he said, and no one could have been more welcome - someone who brought her back to earth freed from the worrisome panic of the back yard. 'Won't you have a cup of tea, Mr. Swensen, before you start work?' to which he readily agreed, and the two of them sat comfortably in the den talking about children, the park, and the town.
Now in modern metropolitan America, no one sits and has tea with the help - it simply is not done - but in the settled, civic, and congenial Fifties it was not unusual.
Bettina looked at the young man and smiled. He reminded her of a Viking pictured in her favorite childhood book, Tales of the North - blond, blue-eyed, strong and direct, the kind of man she hoped one day to marry.
Instead she had married Harold Alston, a good man, a good father, and a good provider - all a woman could ask for, really - but she could never stop thinking of Rolf the Viking, especially when her husband was pounding away at her, grunting and groaning like a wounded bear, finally finishing with a, 'Wow, that was nice' when for her it was nothing but stress, patience, and disgust.
'Well, I really must be getting to your pipes, Mrs. Alston', he said, but Bettina wondered if there was some way she could hold him, freeze frame him, keep him in her den, immobilize him.
'I'm being silly', she said to herself after he had finished for the day, but any chagrin or embarrassment disappeared when he said he would have to come back the next day to address her risers.
New Brighton was typical of many small towns in New England - there was the upper class, the former industrialists who built the factories that supplied the American war machine during the European wars and the Union Army in the Civil War; the professional class, the doctors and lawyers who saw to the medical and legal needs of the community; the skilled craftsmen, carpenters, electricians and public school teachers; and factory worker at the broad base of the pyramid.
The classes didn't mix, so Bettina's attention to Henk Swensen was unusual, frowned upon, and simply not done; but she was in a fragile, needy state. She had felt crushed and ignored by the sweating, lumbering slab of meat banging away at her the night before, was increasingly bored with the chatty, gossipy ladies of the Auxiliary, and of course there was the freeze frame which could not be ignored. Something was bound to happen.
'Please stop calling me Mrs. Alston, Henk', she said, feeling like Miss Julie in Strindberg's play where social class defines behavior and where sexual desire is mitigated by status; but felt lucky to have such a young, considerate, thoughtful lover by her side.
They met everywhere. She avoided her marital bed for months until she figured that a little more deceit, deception, and defilement couldn't hurt, and so it became part of her weekly routine, penciled in her calendar with obfuscated references.
They did it in the cornfields of Brierly's Farm, in Bray's orchard, and in the tool-cluttered basement workroom of Henk's saltbox on Arch Street.
After a time she began to feel like Connie Chatterley who, for all the epiphanic sex she and Mellors had, they found they could never have a life together. Their mutual orgasms, Lawrence's metaphor for pure Tantric love notwithstanding, there lives were to be separate.
No rancor, no tears, no recriminations or regrets, just parting with a hug and a handshake, as it should be, especially for a proper, civic minded town like New Brighton.
Her freeze-frame pre-panic attack moments which she thought had been extirpated by the long affair with Henk Swensen returned along with the old anomie. Her husband's routine thumping and whaling away on top of her every Saturday night became intolerable, the cheery greetings at the reception desk of New Brighton General intolerable, but there was no place to go.
This was the Fifties after all, and she had no money - unlike Strindberg's Captain in The Father where his wife Laura drives him mad with uncertainty about the paternity of their daughter, commits him, and takes control of all his money. So Bettina's future was uncertain and the present miserable.
Only string of day-trip lovers kept her sane until she was worn out with the sex, the double life, and the hammering, thudding boredom of it all. By that time she had no energy for defiance, revolt, or sedition, and so resigned herself to a long future of bone-chilling sameness.
Which is the story of small town American women of the Fifties. Like Wilder's Grover's Corners, New Brighton looked all well and good from the outside, but was nothing of the sort inside.














