So often, the Syracuse sky "was overcast and glowering, as if with withheld secrets, passions. Clouds were never two-dimensional like painted scenery but massed, massive, bulging, tumescent, pocked and pitted and creviced and boiling, rarely white, rarely of a single hue, but infinitely varied shades of gray, dark-gray, powder-gray, bruise-gray, iron-gray, purple-gray, shot with a mysteriously advancing, and abruptly fading, sunlight. Rain was falling, or had recently fallen leaving everything slick, wet, shining, washed-clean; sullen, punished-looking; or gleaming with optimism, hope. Unless it was snow imminent-"Oh God, smell it? Like iron filings. That's snow."

The large, stately front door of the Kappa house was made of oak with an iron knocker; there was a doorbell that, when rung, emitted delicate, melodic chimes deep in the interior of the house. This "feminine" doorbell contrasted with the heavy masculine architecture and may have suggested something of the atmosphere within that was sly, subversive. The downstairs public rooms (as they were grandly called) were impressively formal, dark, high-ceilinged and gloomy even with their filigree gold-gilt French wallpaper; the heavy old furniture was "Victorian antiques." A legacy the local chapter of the Kappa alums assured us solemnly of priceless things, irreplaceable. Take care! We were made to feel like overgrown blundering children in a sacred space.

Yet it was sacred, I suppose. In its way. In its time. Who could resist the tasteful glitter of crystal chandeliers, dust-encrusted by day perhaps but, by night, iridescent and sparkling; the lavish carpets-"heirloom Oriental antiques"-vividly colored, jewel-like in certain areas if, in other, more trodden areas, worn thin as much-used woollen blankets. In several downstairs rooms there were imposing marble fireplaces like altars (rarely used, as it turned out, since they smoked badly); everywhere were filigree-framed mirrors with singed-looking glass that enhanced the plainest face if you tiptoed to stare into them, like Alice approaching the Looking-Glass World; these mirrors seemed to double, even treble, the proportions of the somber rooms as in a dream of fanatic clarity that leaves the dreamer exhausted and strangely demoralized, as if emptied of personality. Confused by these mirrors in my first visits to the house (during second-semester sorority rush week) I staggered away from the Kappas with a misleading sense of the house's grandeur, as if I'd been in a cathedral.

In a corner of the stately living room, near an oil portrait of the house's first owner, was a Steinway grand piano of dark, dully gleaming mahogany, with stained ivory keys, several of which stuck; it was a beautiful piano, but somehow melancholy, exuding a dark, rich odor, that quickened my heart to know the piano's secrets, to be able to play. Unfortunately the Kappa housemother had declared the piano off-limits even to those two or three skilled pianists among the Kappas, except for a single hour following dinner and Sunday afternoon between the arbitrary hours of 4:30 p.m. and 6:00 p.m. when the more aggressive Kappas banged out old favorites like "Chopsticks" and "Begin the Beguine."

Several times when I found myself alone in the living room, I dared to sit at the Steinway grand and fitted my shy fingers to the keys; gently I depressed the keys, calling up a faint, quavering, undersea sound deep inside the piano. (The piano was always kept closed, lid shut like a coffin.) I knew very little of pianos; I'd tried to play in imitation of a friend who took lessons, when I was twelve; I'd grown up with my grandparents who were farm people, German immigrants, with no time for music, still less classical music. Yet the fact of the piano in the Kappa living room was a consolation. As if in some way it were a sign of home. Even if I couldn't play it, and would not have been allowed to play it in any case. Still the piano exists. As the world-in-itself-I'd begun, in my sophomore year, to study Immanuel Kant-exists, unattached to us. The physical solidity seemed to argue for a reality beyond my own; more valuable than the fleeting, always unsatisfying moment through which I, a sophomore, a lonely girl amid a clamor of "sisters," was passing. For what was my mood except reluctance to return upstairs to the crowded smoky third-floor room to which I'd been assigned because my roommate, who chain-smoked Chesterfields and lived in a giddy clutter of clothes, nail polish (and nail polish remover that smelled virulent as a chemical defoliant), tubes of greasy lipstick, makeup in jars, and mimeographed course outlines from her education courses, would be there, and other Kappas would be lounging in the doorway or sprawled across my bed, exhaling smoke with the luxurious abandon of girls away from adult scrutiny, tapping ashes in the vague direction of a communal ashtray with a plastic hula girl at its center. Reluctant to return upstairs because to my dismay I was finding myself as isolated as I'd been before I had become a sister-an "active"-of Kappa Gamma Pi with no recourse except to conclude You! It's your own fault. You, always dissatisfied.

This was my curse. I would bear it through my life. As if a wicked troll had baptized me, in infancy, as my mother wasted away to Death, unknowing; a flick of the troll's fingers, poisonous water splashed onto my forehead. I baptize thee in the name of ceaseless yearning, ceaseless seeking and ceaseless dissatisfaction. Amen!

Once when I'd sat at the piano too long, lost in a reverie, depressing keys with both hands in near-inaudible chords that reverberated like ghost music heard at a distance, the harsh overhead lights of the living room were suddenly switched on (it was a late afternoon in November, dark as midnight outside) and there stood our housemother Mrs. Thayer staring at me from beneath the dramatic arch of the doorway. She had a regal figure and a powdered face that glowed pinkly moist and meaty as a canned ham; her expression was one of hauteur tinged with disbelief. "You! Is it-Mary Alice? What are you doing here? Have I not explained-and explained-that our piano is to be kept shut? Otherwise it will be clogged with dust, it will go out of tune, an expensive and irreplaceable musical instrument, an antique, a Sternway, an irreplaceable Sternway, for goodness's sake, you gurls! Have you no memory? Have you no mind? Have to be told, told, told! Again, again, again! "As if a spring had been tripped in her brain, Mrs. Thayer began to scold; this was her preferred way of scolding, in a bright, crisp, corrosive British accent. Like gas jets her close-set blue eyes flashed; she drew her tightly girdled, fattish little figure to its full height of perhaps five feet three inches, and regarded me for a long devastating moment. This was the look, the Brit glare, for which our housemother was famous. Girls belonging to rival sororities knew of Kappa's Mrs. Thayer; boys dating Kappas came away with accounts of her, shaking their heads in reluctant admiration. I cringed before the woman's contempt like a guilty child, my face burning, stammering, "Mrs. Thayer, I'm s-sorry. I actually wasn't-" Mrs. Thayer interrupted impatiently, loftily, for this too was a pet annoyance of hers, the way in which American gurls will apologize yet in the same breath try to deny that for which they are apologizing- "No excuses, please! I have heard, heard, heard these excuses all, already!" Airily Mrs. Thayer laughed to show she wasn't angry, of course; such trifles couldn't make her angry; she who'd survived what she spoke of proudly as the London Blitz. Except of course she was bemused, amused-"Oh, you American gurls." It was a dramatic gesture of Mrs. Thayer's to switch off the light to leave me in a gloomy darkness alleviated only by the hall light, to turn adroitly on her heel and stride away.