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Ryder College music professor Mr. Brook coordinates the arrival of Madame Zilensky, a new member of his department. He largely keeps to himself, uninterested in spending time with his colleagues. Though no one knows her personally, Madame Zilensky is a famed musician, and her hiring is a big accomplishment for Mr. Brook.
A week before the semester begins, Mr. Brook picks Madame Zilensky up at the train station, along with her three young sons and their Finnish maid. They only have Madame Zilensky’s manuscripts with them; the rest of their luggage was left behind when they switched trains. As they leave, Madame Zilensky flies into a panic, claiming she left her metronome at the previous station and needs to return to get it. Mr. Brook manages to calm her down and promises to buy her a new one.
Madame Zilensky and her family move into the house next door to Mr. Brook. Mr. Brook finds it odd that they barely furnish the house, leaving it empty and unlived in. Madame Zilensky proves to be a great teacher, and the school is very happy. At night she works on her 12th symphony; Mr. Brook feels as though she never sleeps. He worries that there is something wrong with Madame Zilensky, who tells outlandish stories of her world travels. One day, she stops by his office to ask about her metronome. She wonders if she left it with a French man she was once married to—the father of one of her sons, each of whom has a different father. Mr. Brook is surprised—the boys all look alike, but not like Madam Zilensky.
As time goes on, Mr. Brook becomes more unsettled by Madame Zilensky’s stories. She makes even mundane stories about her life sound fantastical. One day, Madame Zilensky tells him about seeing the King of Finland on the street. Mr. Brook remembers that there is no king of Finland and realizes that Madame Zilensky’s stories are all lies. As he ponders why she makes them up, he understands that she devotes so much of her life to music that she has no time for anything else. These stories give her life excitement, allowing her to live in her imagination.
The next morning, Mr. Brook arrives at his office early and waits for Madame Zilensky to arrive. When he hears her footsteps in the hallway, he asks her to tell him again about the King of Finland; when she launches into the story, he stops her to say that there is no King of Finland. As Madame Zilensky refuses to admit that she is lying, Mr. Brook sees panic and desperation in her eyes. He backs off, feeling affection toward her and ashamed of acting cruelly. He admits that she was right and asks her to tell him more.
Later, at home, Mr. Brook is grading assignments when he looks out the window and sees a neighbor’s dog. It takes him a moment to realize what seems strange: The dog is walking backwards. He watches the dog until it disappears and then returns to his grading.
Madame Zilensky lies because her everyday life is isolating. Her music, although it brings her fame, leaves her little time to do anything else: “Day and night she had drudged and struggled and thrown her soul into her work, and there was not much of her left over for anything else. Being human, she suffered from this lack and did what she could to make up for it” (109). This lack of fulfillment is part of The Detrimental Power of Loneliness. To counteract this, she creates fantastical stories about a make-believe past. McCullers makes it clear that Madame Zilensky does not have an identity outside of her craft. Imagining a different self into the world brings excitement, makes her life feel more real, and gives her a means to connect with others by making herself interesting in their eyes.
Madame Zilensky’s inability to build a real life around herself is expressed through the symbol of her house. When Madame Zilensky and her sons move into their new house next door to Mr. Brook, they leave it largely empty. Illustrating an element of Rejection of Gender Conformity, Madame Zilensky—despite being a mother—is emphatically not a homemaker: “Weeks passed and Madame Zilensky seemed to make no effort to get settled or to furnish the house with anything more than a table and some beds […] soon the house began to take on a queer, bleak look like that of a place abandoned for years” (105). The house’s hollow “bleakness” uses a standard trope of Gothic literature—the spooky building that harbors secrets—to reflect Madame Zilensky’s sense of alienation; like the house, Madame Zilensky’s real life has been stripped down to the essentials of her career. We learn little about her children or her relationship to their fathers, as these dynamics do not play into her character.
The story illustrates another aspect of The Mysteries of Love and Affection. At first, the point-of-view character, Mr. Brook, struggles to understand Madame Zilensky’s outlandish stories. But when he confronts her about the fact that she’s been lying, she is so devastated that Mr. Brook feels tremendous guilt and shame: “Mr. Brook felt suddenly like a murderer. A great commotion of feelings—understanding, remorse, and unreasonable love—made him cover his face with his hands” (112). Mr. Brook is overwhelmed at his sudden burst of empathy; rather than feeling put upon by Madame Zilensky, he finds himself in a moment of complete “understanding” and even “love”—not romantic love, but fellow-feeling borne of deep human communion. Instantly, he grasps her commitment to creating an alternate life for herself, if only in her imagination. His newfound sympathy allows him to choose to protect and forgive her, rather than hold her accountable. Moreover, after Mr. Brook has his revelation of connection to Madame Zilensky, he too enters the world of the imagination, seeing a dog inexplicably walk backwards—a sight he will have a hard time explaining to other people.



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