The Rehearsal by Eleanor Catton Read Free Book Online Page B

enjoys these changes, when Isolde slips out of one person and becomes another. Bridget is good at voices, but with Isolde the performance is always physical and total, like the unexpected shedding of a skin. The saxophone teacher shifts in her chair, and nods to show she’s listening.
    “And he shakes his head at me,” Isolde says, broadening now, rocking back on her heels and sucking in her belly so her chest inflates, “and he goes, Isolde, I am not the kind of teacher who ingratiates myself with my students in order to gain their love. That is not my style. I am the kind of teacher who gains popularity by picking a scapegoat. I do this in each and every class I teach. If I was to grant you an extension I would be a hypocrite and I would undermine my own methods.
    “He goes, Isolde, when I set out to gain the love of a student, I do not begin by granting them an extension when they don’t really need one. I begin by cultivating a culture of jealousy in my classroom. Jealousy is a key component to any classroom environment, because jealousy means competition and competition means excellence. It is only in a jealous classroom that a true and fervent love can blossom.
    “It is only once I am sure my students are well placed to become very jealous of each other that I pick my scapegoat. Picking a scapegoat is not easy, Isolde. It is not as easy as granting an extension to a student when they don’t really need one. Picking a scapegoat is a very difficult and delicate task. The trick—” and she brandishes her saxophone now, jabbing it into the air to emphasize what she is saying “—is not to pick the girl that everybody already genuinely dislikes. This will induce the other students to pity the scapegoat, and to become contemptuous of me because I am being cruel. I don’t want to be cruel to my students.
    “The trick is to pick the least original girl in the room. You want someone unoriginal because you want to be sure that they will behave exactly the same way every time you use them. You want someone unoriginal because you need them to be dull enough to believe that they are being singled out on the strength of their own comic merits. You need them to believe that the laughter you generate is inclusive laughter.
    “Isolde, he goes, I am a good teacher who is loved by my pupils. I gain their collective love by choosing a sacrificial victim on behalf of them all, not by currying favor with every individual student. It is a good method and I am a good teacher. I don’t want to give you an extension because your sister had sex and everyone found out and I feel sorry for you. I’ve explained my reasons. I’m sorry.”
    The lights fade back in. Isolde comes gracefully to an end and reattaches her saxophone to her neckstrap, ready for the lesson.
    “So you didn’t get an extension,” the saxophone teacher says as she rises.
    “No,” Isolde says. “He goes, What you need to learn, Isolde, is that life just isn’t fair.”
    Friday
    It is a new and popular tradition at this secular school to purchase short-snouted plastic Coca-Cola bottles from the tuck shop, and then retrieve with a fingernail the little blue disc with a stiff rim that sits snugly on the underside of the bottle’s cap. The girls hold this blue disc up to their lips and with their front teeth they bite a hole in the greasy plastic center to pierce the flesh. They are then able to rip out the middle of the disc so that only the rim remains. Gently they tug at this little translucent hoop of plastic, turning it around and around in their hands, pulling at it tenderly so it stretches wider and wider and the thin hoop becomes a pale band of ribbon through which they can slip their hand. The girls then wear these plastic ribbons on their wrists.
    Popularly they are known as “Fuck-me bracelets.” It is a mark of a girl’s daring to fashion such a bracelet for herself from the aqua seal of a Coca-Cola bottle neck, for whoever breaks the bracelet,