We have to assume that Speck came first, with “Speck’s Idea” published in 1979.
“Overhead in a Balloon” was published five years later (both stories in the pages of “The New Yorker”, where the majority of Mavis Gallant’s stories appeared before they were bound into collections).
So we have to assume that Mavis Gallant wasn’t convinced of Speck’s take on his gallery assistant, that she wanted to get to know Walter herself.
Speck, readers learn in this collection’s first story, spent half of his time envisioning the final act of firing his assistant Walter. He hasn’t completed the act, however.
In turn, when readers spend time in Walter’s mind, we learn that Walter spends half of his time abandoning his employer (or in seeing him held hostage or otherwise suffering, no longer a threat to Walter in any case).
Speck is awake and planning; Walter is asleep and dreaming.
Neither man admires the other, both men fantasize about their relationship ending: the relationship carries on.
And what is the root of their discontent?
For one thing, they do not view the gallery business from the same perspective.
Consider this scene:
When Aymeric brings his portfolio to Speck, in hopes that Speck will consider hosting a show of Aymeric’s paintings, Speck is immediately dismissive. Meanwhile Walter is determinedly gesturing and nudging, ultimately dismissive of Speck’s dismissal. (Later when Walter and Aymeric meet to discuss how Walter might help Aymeric with his portfolio, nothing comes of Walter’s good intentions.)
Speck is in charge; Walter is the assistant. Neither has as much influence as he “deserves”, not in the art world, not even with one another.
In one instance, we have Walter, needing to take time out of his day to address Speck’s shortcomings as a gallery host, to assure Aymeric that his paintings matter.
But Speck had to address Walter’s shortcomings in the previous story: “Walter, perhaps by mistake, had invited Blum-Weiler-Blochs instead of Blum-Bloch-Weilers. They came in a horde, leading an Afghan hound they tried to raffle off for charity.” (One part of the family is influential, the other is artsy: now we know one group raffles off dogs. Presumably a later story in this collection will feature the hound.)
So there are administrative matters dividing them, but other differences between the men too.
Politics.
Religion.
Trifles.
Things at the gallery have progressed since “Speck’s Idea”, however, improvements which “cost Walter’s employer a packet”:
“It happened that one of the Paris Sunday supplements had published a picture story on Walter’s gallery, with captions that laid stress on the establishment’s boldness, vitality, visibility, international connections, and financial vigor.”
Readers who witnessed the struggles in “Speck’s Idea” are pleased to hear this news. But ultimately this story is not really about the gallery or about Speck. Mavis Gallant moves on and readers must move on as well.
“Walter, assistant manager of the gallery, was immediately attracted to Aymeric, as to a new religion – this time, one that might work.”
No chore to move on, then: Walter has found a new religion in Aymeric. What promise! And even though Walter is dismissive of many artists’ work, Aymeric’s work is an exception:
“I hate art, too,” said Walter. “Oh, I don’t mean that I hate what you do. That, at least, has some meaning – it lets people see how they imagine they live.”
And, then, still moving on, Aymeric introduces Walter to Robert, Aymeric’s cousin who shares a floor in an apartment building with Robert’s aging mother (and, eventually, Robert’s sister, Monique).
Which is fortunate, because if Aymeric was the new religion, then it is Robert who becomes the new Aymeric, which means that Robert is the new religion. (Speck does mention that Walter is between religious systems. Perpetually, it would seem.)
“He could sit listening to Walter as if he were drifting and there was nothing but Walter in sight. Walter told him about his employer, and the nice Dominican, and how both, in their different spheres, had proved disappointing. He refrained from mentioning Aymeric, whose friendship had so quickly fallen short of Walter’s.”
Throughout the story, Walter is dreaming and Robert is flipping through the pages of his dream dictionary, eager to interpret the dreams for Walter (of betrayal, repeatedly of betrayal).
Fortunate again, that even in the absence of religious faith, there is a dream dictionary. And a prophet who can page through the index of the text. Who can point out a path through the wilderness.
“All the apartments connected; one could walk from end to end of the floor without having to step out to a landing. They never locked their doors. Members of the same family do not steal from one another, and they have nothing to hide.”
And fortunate that all these people are together, navigating the uncertain terrain. Robert’s mother is putting a cushion in the oven. Walter is making summer plans. There is a snuff-box that one person cannot locate and another person cannot admit to possessing. (Speck knows more than you would expect.)
There is cacophony. “He could hear music, a vacuum cleaner, and sparrows.”
There is stillness. “Balloons were quieter than helicopters. Swaying in silence, between the clouds and the Burgundy Canal, he had been able to reach a decision.”
But what is decided?
Overhead in a Balloon‘s stories: Speck’s Idea / Overhead in a Balloon / Luc and His Father / A Painful Affair / Larry / A Flying Start / Grippes and Poche / A Recollection / Rue de Lille / The Colonel’s Child / Lena / The Assembly
Note: This is part of a series of posts on Mavis Gallant’s stories, as I read through her short fiction. This is the second story in Overhead in a Balloon. Please feel free to check the schedule and join in, for the series, or for a single story; I would love the company. Next story: “Luc and His Father”.
It didn’t surprise me that Walter and Speck had different ideas of art. As the owner of the gallery, I would imagine Speck has to look at art in a more business-oriented way if he’s going to be able to keep his gallery running. Which would probably be frustrating to whoever else is working there.Their differences seem to be more amplified in this story than the last. I think some time has passed? (The story is starting to get fuzzy.)
I love that they are both heroes of their own stories while the other is a villain. It does make me see Speck differently. But Speck’s opinion of Walter from the previous story also makes me a little wary of Walter’s point of view in this one. Would I have felt the same about Speck had I read the stories in reverse?
The thing about the oven strikes me funny, because we always have to check our oven before turning it on to make sure no one has put anything in it. In our case, we usually just use it to hide food from the dog. But my neighbour once hid her dirty dishes in the oven at the last minute when someone came to the door, then forgot they were in there, and the next time she turned on the oven it caught fire and she had to call the fire department!
It feels like maybe a few months have passed, enough time for Speck to arrange that amazing feature in the newspaper (at substantial cost, apparently, or so we hear).
That’s a good point, I feel like I was immediately wary of Walter because he seemed such a flibberty-jibbet (hmmm, I don’t think I’ve ever used that word to describe a character in a story before) in Speck’s point-of-view. But I do suspect it would have been the same way if the order had been reversed, except directed towards Trout-Face, because of all the dreams that Walter reports having about Speck being so unpleasant.
I’ve never done that in the oven, but once I put a casserole in there overnight, because there wasn’t enough room in the fridge (it might have been around a holiday – when things get packed in there with cooking ahead) and then turned on the oven the next day and re-cooked the whole thing. Besides the waste of it all, the scrubbing was the worst part – it took so long to get the baking dish de-blackened. Your story is much more amusing! (Does your neighbour laugh about it now?)
She was so embarrassed. She actually called me to warn me that the firetrucks were coming and why so we wouldn’t woory when we saw them. Yes, she laughs about it now – it makes a good story. 🙂
chuckles It’s a good thing she has a sense of humour about it! You weren’t the neighbour she was hiding the dishes from to start with, were you?
No need for that. Her house is always much cleaner than mine! 🙂
🙂
Another great sounding story, from an interesting collection. You continue to educate me about a writer I don’t see talked about on other blogs.
She should be talked about more! So far I am loving this collection: the wit is palpable. And knowing that these stories are connected makes me so curious: who will be discussed next.
Gallant tricked me with this one. I thought the betrayal would be between Walter and Speck. Very clever.
I love that Gallant gave Walter his own voice, and thought it was funny that she made Speck the enemy. (“Trout Face” snort)
Once again there was some discussion about wives leaving their husbands. It must be that its happening so much more now – almost hard not to talk about. Especially since it’s happened to these men. (“The men in my family are too tolerant. Our wives leave us for brutes.”)
I like this description of Aymeric: “He seemed idle yet at the same time busy.He hardly ever sat down without giving the impression that he was trying to get to his feet; barely entered a room without starting to edge his way out of it.” Sounds like my husband!
I like Robert’s mother – she added some giggles.
I hope we get to see Walter again as I assume he will be moving on from Robert’s place soon. He needs a friend.
I wasn’t expecting things to develop that way either, but, then, we don’t see the summer play out really, only Walter’s return, so I suppose we imagine that the rest of the group got pretty comfortable in that space without him.
And I guess we don’t really know: was it a betrayal, ultimately, after the story is over, given this statement “seemed to be wondering if there was any point in trying to say the same thing some other way”). But the next story doesn’t answer the question either?
Doesn’t it seem very human? That both Speck and Walter have a story in which they are the hero and the other is the villain. I wonder if all of Walter’s dreams, and the analysis that Robert offered along the way, really was “as stated” or if they were really warnings and we, as readers, only took it as being work-related because that’s the relationship that was preoccupying Walter. Did the story change your impressions of Speck?
Her phone calls were hilarious and, typical Gallant, we also learn a lot about French society: the simple fact that this telephone operator exists and, then, that her experience, with people calling in, is that their living circumstances are not half as privileged as Robert’s mother’s. And it’s funny (but also sad, obvs) that, when an item cannot be located, it’s suggested it might be in the oven and that’s worth a second look.
It also seems sad that Walter’s idea of art seems to be at odds with Speck’s idea (and, maybe, everyone else’s?) of art. What’s your sense of this? How did he come to be working as a gallery assistant? How did he come to be so disillusioned with his position or with the art scene (or both)? Is this really just another way for Gallant to think about “belonging”?
In July I will be participating in a wonderful event, Paris in July, hosted by Thyme for Tea. The stories you are now reading from Overhead in a Balloon set in Paris are perfect subjects for Paris in July. I hope in July to post on these four stories, Luc and his Father, Grippes and Poche, A Flying Start, and A Painful Affair. Mavis Gallant loved Paris so much. Maybe you will consider sharing at least one story for Paris in July.
That’s a good idea, Mel: I’ll try to do so. Years ago, I participated in the event but July became an extraordinarily busy month for me and I lost track of it. I’ll try to plan ahead for next year and, in the meantime, as you’ve suggested, I’ll pay particular attention to Paris quotes for the four Gallant stories I have lined up for next month. (If you can read the title story, “Overhead in a Balloon”, there is in it a little more of Paris than appears in some stories. But if I know you, you’ve got no shortage of outstanding Paris material! 🙂