There was a vast dim dining room with William Morris wallpaper, the Strawberry Thief design, and a chandelier entwined with bronze water-lilies, and three high stained-glass windows, shipped in from England, showing episodes from the story of Tristan and Iseult (the proffering of the love potion, in a ruby-red cup; the lovers, Tristan on one knee, Iseult yearning over him with her yellow hair cascading—hard to render in glass, a little too much like a melting broom; Iseult alone, dejected, in purple draperies, a harp nearby).

The planning and decoration of this house were supervised by my Grandmother Adelia. She died before I was born, but from what I’ve heard she was as smooth as silk and as cool as a cucumber, but with a will like a bone saw. Also she went in for Culture, which gave her a certain moral authority. It wouldn’t now; but people believed, then, that Culture could make you better—a better person. They believed it could uplift you, or the women believed it. They hadn’t yet seen Hitler at the opera house.

Adelia’s maiden name was Montfort. She was from an established family, or what passed for it in Canada—second-generation Montreal English crossed with Huguenot French. These Montforts had been prosperous once—they’d made a bundle on railroads—but through risky speculations and inertia they were already halfway down the slippery slope. So when time had begun to run out on Adelia with no really acceptable husband in sight, she’d married money—crude money, button money. She was expected to refine this money, like oil.

(She wasn’t married, she was married off, said Reenie, rolling out the gingersnaps. The family arranged it. That’s what was done in such families, and who’s to say it was any worse or better than choosing for yourself? In any case, Adelia Montfort did her duty, and lucky to have the chance, as she was getting long in the tooth by then—she must have been twenty-three, which was counted over the hill in those days.)

I still have a portrait of my grandparents; it’s set in a silver frame, with convolvulus blossoms, and was taken soon after their wedding. In the background are a fringed velvet curtain and two ferns on stands. Grandmother Adelia reclines on a chaise, a heavy-lidded, handsome woman, in many draperies and a long double string of pearls and a plunging, lace-bordered neckline, her white forearms boneless as rolled chicken. Grandfather Benjamin sits behind her in formal kit, substantial but embarrassed, as if he’s been tarted up for the occasion. They both look corseted.

When I was the age for it—thirteen, fourteen—I used to romanticize Adelia. I would gaze out of my window at night, over the lawns and the moon-silvered beds of ornamentals, and see her trailing wistfully through the grounds in a white lace tea gown. I gave her a languorous, world-weary, faintly mocking smile. Soon I added a lover. She would meet this lover outside the conservatory, which by that time was neglected—my father had no interest in steam-heated orange trees—but I restored it in my mind, and supplied it with hothouse flowers. Orchids, I thought, or camellias. (I didn’t know what a camellia was, but I’d read about them.) My grandmother and the lover would disappear inside, and do what? I wasn’t sure.

In reality the chances of Adelia having had a lover were nil. The town was too small, its morals were too provincial, she had too far to fall. She wasn’t a fool. Also she had no money of her own.

As hostess and household manager, Adelia did well by Benjamin Chase. She prided herself on her taste, and my grandfather deferred to her in this because her taste was one of the things he’d married her for. He was forty by then; he’d worked hard at making his fortune, and now he intended to get his money’s worth, which meant being patronized by his new bride about his wardrobe and bullied about his table manners. In his own way he also wanted Culture, or at least the concrete evidence of it. He wanted the right china.

He got that, and the twelve-course dinners that went along with it: celery and salted nuts first, chocolates at the end. Consommé, rissoles, timbales, the fish, the roast, the cheese, the fruit, hothouse grapes draped over the etched-glass epergne. Railway-hotel food, I think of it now; ocean-liner food. Prime ministers came to Port Ticonderoga—by that time the town had several prominent manufacturers, whose support for political parties was valued—and Avilion was where they stayed. There were photographs of Grandfather Benjamin with three prime ministers in turn, framed in gold and hung in the library—Sir John Sparrow Thompson, Sir Mackenzie Bowell, Sir Charles Tupper. They must have preferred the food there to anything else on offer.

Adelia’s task would have been to design and order these dinners, then to avoid being seen to devour them. Custom would have dictated that she only pick at her food while in company: chewing and swallowing were such blatantly carnal activities. I expect she had a tray sent up to her room, afterwards. Ate with ten fingers.

Avilion was completed in 1889, and christened by Adelia. She took the name from Tennyson:

The island-valley of Avilion;

Where falls not hail, or rain, or any snow,

Nor ever wind blows loudly; but it lies

Deep-meadow’d, happy, fair with orchard lawns

And bowery hollows crown’d with summer sea,…

She had this quotation printed on the left-hand inner side of her Christmas cards. (Tennyson was somewhat out of date, by English standards—Oscar Wilde was in the ascendant then, at least among the younger set—but then, everything in Port Ticonderoga was somewhat out of date.)

People—people in town—must have laughed at her for this quotation: even those with social pretensions referred to her as Her Ladyship or the Duchess, though they were wounded if left off her invitation lists. About her Christmas cards they must have said, Well, she’s out of luck about the hail and snow. Maybe she’ll have a word with God about that. Or perhaps, down at the factories: Seen any of them bowery hollows around here, anywheres but down the front of her dress? I know their style and I doubt that it’s changed a lot.

Adelia was showing off with her Christmas card, but I believe there was more to it. Avilion was where King Arthur went to die. Surely Adelia’s choice of name signifies how hopelessly in exile she considered herself to be: she might be able to call into being by sheer force of will some shoddy facsimile of a happy isle, but it would never be the real thing. She wanted a salon; she wanted artistic people, poets and composers and scientific thinkers and the like, as she had seen while visiting her English third cousins, when her family still had money. A golden life, with wide lawns.

But such people were not to be found in Port Ticonderoga, and Benjamin refused to travel. He needed to be near his factories, he said. Most likely he didn’t want to be dragged into a crowd that would sneer at him for his button manufacturing, and where there might be unknown pieces of cutlery lying in wait, and where Adelia would feel ashamed because of him.

Adelia declined to travel without him, to Europe or anywhere else. It might have been too tempting—not to come back. To drift away, shedding money gradually like a deflating blimp, a prey to cads and delectable bounders, sinking down into the unmentionable. With a neckline like hers, she would have been susceptible.

Among other things, Adelia went in for sculpture. There were two stone sphinxes flanking the conservatory—Laura and I used to climb up on their backs—and a capering faun leering from behind a stone bench, with pointed ears and a huge grape leaf scrolled across his private parts like a badge of office; and seated beside the lily pond there was a nymph, a modest girl with small adolescent breasts and a rope of marble hair over one shoulder, one foot dipping tentatively into the water. We used to eat apples beside her, and watch the goldfish nibbling at her toes.