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Contents
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
FOR
For it hath been declared
unto me of you, my brethren, by them
which are of the house of
Chloe, that there are
contentions among you.
I CORINTHIANS 1:11
FOREWORD
MY EAR is so close to the radio I have to be shouted away lest it ruin my hearing forever. Or I am cross-legged on the linoleum floor, breathing through my mouth, rapt, watching the giveaway eyes of the grown-up telling the story. All narrative begins for me as listening. When I read, I listen. When I write, I listen—for silence, inflection, rhythm, rest. Then comes the image, the picture of the thing that I have to invent: the headless bride in her wedding dress; the forest clearing. There is performance, too: “zzz went the saw,” accompanied by gesture. And cadence: “Old man Simon Gillicutty, caaatch me.” I need to use everything—sound, image, performance—to get at the full meaning of the story because I may be called upon to re-tell it for the pleasure of adults. Their judgment of my interpretation is critical.
Once upon a time there was this farmer. He planted himself a garden….
They are waiting. My mother is smiling in anticipation, but it is my grandmother I want most to please.
Yummy food, unique attention, playfulness, or loving sternness—these features are often summoned to sweeten one’s memory of a grandmother. Whether true or screened by time and loss, the relationship between grandmother and child usually surfaces as a warm and satisfying one. Mine, too, is sugared, but so much deeper than satisfaction that I don’t want to share it. Like the greedy child who can’t get close enough to the radio, I want it all to myself. She told us stories to keep us working at tedious tasks: picking through baskets of wild grapes to sort out the bruised; to take our minds off pain and chicken pox; to split open the dreary world to expose an enchanted one.
I was not my grandmother’s favorite. No matter, she was mine. I see her cutting lard into biscuit dough. I see my hands in hers as she dances with me. I smell the drops of turpentine in a teaspoon of sugar given to us in springtime. The school dresses she sewed, two each for my sister and me—plaid with a white collar; and once, she made us bobby suits. Most important, she was the one who wanted my dreams, mine alone, to interpret when she played the numbers. They were important to her, so I recalled them, shaped them into stories which, like hers, needed interpretation.
Once upon a time there was this farmer. He planted himself a garden….
Very funny, then scary, then funny again. Yet puzzling. At some level the tar baby story begged and offered understanding beyond “outlaw peasant outwits inventive master with wit and cunning.” It’s clear why the rabbit ate as much lettuce and cabbage as he could. It’s clear why the farmer had to stop him. But why a tar figure? And why (in the version I was told) is it dressed as a female? Did the farmer understand the rabbit so well he could count on its curiosity? But the rabbit isn’t curious at all; he passes by the tar baby, casually acknowledging its presence with “Good morning.” It is his being ignored and her being ill-mannered that annoy, then infuriate him. He threatens, then strikes her. Now he is stupid; if one of his paws sticks, why try another? The inventive farmer has succeeded but gets involved in a form of punishment, and having understood motivation so well earlier, now misunderstands completely. Now the stupid rabbit becomes the clever one, pretending that the punishment he fears most is being returned to his own neighborhood. He knows the farmer would reckon this return to the ’hood as supreme torture, worse than death, so into the briar patch he is unceremoniously, gleefully thrown. The figure of tar, having done its work, falls out of the action of the tale, yet remains not only as its strange, silent center, but also as the sticky mediator between master and peasant, plantation owner and slave. Constructed by the farmer to foil and entrap, it moves beyond trickery to art. The principal relationship is not limited to the rabbit and the farmer; it is also between the rabbit and the tar figure. She snares him; he knows it, yet compounds his entanglement while demanding to be freed. A love story, then. Difficult, unresponsive, but seducing woman and clever, anarchic male, each with definitions of independence and domesticity, of safety and danger that clash. The novel signals this conflict at the beginning: “He believed he was safe.” “Believed” rather than thought in order to stamp doubt, suggest unease.
It was the image of tar, however, artfully shaped, black, disturbing, threatening yet inviting, that led me to African masks: ancient, alive, and breathing, their features exaggerated, their power mysterious. A blatant sculpture sitting at the heart of the folktale became the bones of the narrative. All of the characters are themselves masks. And like African masks, the novel merged the primal and the contemporary, lore and reality. It was a blend that proved heady, even dizzying, but I believed the plotline solid and familiar enough to withhold or contain a reader’s sense of vertigo. If so, the original tale would have earned a new life. Which brings me back to the linoleum floor, listening to the women singing and telling their way through a buried history to stinging truth, enchanting the world where I was “born and bred at.”
They said she was dying. Something like “albumen” in the blood, a visiting doctor said. She mustn’t eat the whites of eggs. That was the diagnosis and the prescription. It was a brew of hit-and-miss medical attention, faith in God’s will, and a conviction that illness was mostly caused by food. (One of her daughters died at eighteen either of sitting on wet grass and catching “cold in the womb” or of the blackberry cobbler she ate the night before. In any case, my grandmother woke to find her sweet baby girl sleeping beside her as cold as frost.) Whatever the cause, my grandmother became very ill. Everyone available watched over her, and at some point I was sent into the bedroom to read to her. Something from the Bible, they said, to comfort her. I read solemnly, not understanding a word. I wanted to tell her a story instead—to amuse, maybe even cure her. Or recount a dream I’d had. But that would be frivolous, indeed, compared to the Bible. Silently she thrashed, turning restlessly under the sheet. I thought she wanted to run, to get away from this stupid grandchild who was awed by her assignment and inadequate to the task. Or perhaps she just wanted to go, to leave life, get quit of it. Minus income, she and her husband were living by turns with one offspring, then another. Although each of her daughters was pleased to have her and cared for her with fierce devotion, she was, in fact, like her husband, homeless. This sequence of beds—none their own—must have been unsettling if not humiliating. At the time I thought it a lovely life—traveling between towns, neighborhoods, “visiting” members of one’s family. But watching her walk her bedsheets, whip her head to and fro on the pillow…I don’t know. Of course, she was ill. Albumen and all…. But surely she could not die or want to. A few days later, when they told me she was dead, I thought, now no one will ask for my dreams. No one will insist I tell her a story.
Once upon a time, a long time ago…
There were four of us in the room: me, my mother, my grandmother, and my great-grandmother. The oldest one intemperate, brimming with hard, scary wisdom. The youngest, me, a sponge. My mother gifted, gregarious, burdened with insight. My grandmother a secret treasure whose presence anchored the frightening, enchanted world. Three women and a girl who never stopped listening, watching, seeking their advice, and eager for their praise. All four of us people the writing of
But only one of them needed my dreams.
HE BELIEVED he was safe. He stood at the railing of H.M.S.
After a while he thought it was time to head inland—toward the pier. As he scissored his legs for the turn, a bracelet of water circled them and yanked him into a wide, empty tunnel. He struggled to rise out of it and was turned three times. Just before the urge to breathe water became unmanageable, he was tossed up into the velvet air and laid smoothly down on the surface of the sea. He trod water for several minutes while he regulated his breathing, then he struck out once more for the pier. Again the bracelet tightened around his ankles and the wet throat swallowed him. He went down, down, and found himself not at the bottom of the sea, as he expected, but whirling in a vortex. He thought nothing except, I am going counterclockwise. No sooner had he completed the thought than the sea flattened and he was riding its top. Again he trod water, coughed, spat and shook his head to free his ears of water. When he’d rested he decided to swim butterfly and protect his feet from the sucking that had approached him both times from his right side. But when he tore open the water in front of him, he felt a gentle but firm pressure along his chest, stomach, and down his thighs. Like the hand of an insistent woman it pushed him. He fought hard to break through, but couldn’t. The hand was forcing him away from the shore. The man turned his head to see what lay behind him. All he saw was water, blood-tinted by a sun sliding into it like a fresh heart. Far away to his right was
His strength was leaving him and he knew he should not waste it fighting the current. He decided to let it carry him for a while. Perhaps it would disappear. In any case, it would give him time to regain strength. He floated as best he could in water that heaved and pulsed in the ammonia-scented air and was getting darker all the time. He knew he was in a part of the world that had never known and would never know twilight and that very soon he might be zooming toward the horizon in a pitch-black sea. Queen of France was already showing lights scattered like teardrops from a sky pierced to weeping by the blade tip of an early star. Still the water-lady cupped him in the palm of her hand, and nudged him out to sea. Suddenly he saw new lights—four of them—to his left. He could not judge the distance, but knew they had just been turned on aboard a small craft. Just as suddenly the water-lady removed her hand and the man swam toward the boat anchored in blue water and not the green.
As he neared it, he circled. He heard nothing and saw no one. Moving port side, he made out
He sidled along the deck, his back against the walls of the wheelhouse, and looked into its curved windows. No one was there, but he heard music from below and smelled food cooked with a heavy dose of curry. He had nothing in mind to say if anyone suddenly appeared. It was better not to plan, not to have a ready-made story because, however tight, prepared stories sounded most like a lie. The sex, weight, the demeanor of whomever he encountered would inform and determine his tale.
He made his way aft and cautiously descended a short flight of stairs. The music was louder there and the smell of curry stronger. The farthest door stood ajar and from it came the light, the music and the curry. Nearer to him were two closed doors. He chose the first; it opened into a dark closet. The man stepped into it and closed the door softly after him. It smelled heavily of citrus and oil. Nothing was clear so he squatted where he was and listened to what seemed to be radio or record-player music. Slowly he moved his hand forward in the dark and felt nothing as far as his arm could reach. Moving it to the right he touched a wall. He duck-waddled closer to it and sank to the floor, his back against the wall.
He was determined to remain alert at all costs, but the water-lady brushed his eyelids with her knuckles. He dropped into sleep like a rock.
The engine did not wake him—he had slept with the noise of heavier ones for years. Nor did the boat’s list. Before the engines was the forgotten sound of a woman’s voice—so new and welcoming it broke his dream life apart. He woke thinking of a short street of yellow houses with white doors which women opened wide and called out, “Come on in here, you honey you,” their laughter sprawling like a quilt over the command. But nothing sprawled in this woman’s voice.
“I’m never lonely,” it said. “Never.”
The man’s scalp tingled. He licked his lips and tasted the salt caked in his mustache.
“Never?” It was another woman’s voice—lighter, half in doubt, half in awe.
“Not at all,” said the first woman. Her voice seemed warm on the inside, cold at the edges. Or was it the other way around?
“I envy you,” said the second voice, but it was farther away now, floating upward and accompanied by footsteps on stairs and the swish of cloth—corduroy against corduroy, or denim against denim—the sound only a woman’s thighs could make. A delicious autumn invitation to come in out of the rain and curl up by the stove.
The man could not hear the rest of their talk—they were topside now. He listened awhile longer and then stood up slowly, carefully, and reached for the doorknob. The passageway was brightly lit—the music and curry smell gone. Through the space between doorjamb and door he saw a porthole and in it, deep night. Something crashed to the deck and a moment later rolled to the door saddle where it stopped in a finger of light at his foot. It was a bottle and he could just make out Bain de Soleil on the label. He did not move. His mind was blank but on call. He had not heard anyone descend, but now a woman’s hand came into view. Beautifully shaped, pink nail polish, ivory fingers, wedding rings. She picked up the bottle and he could hear her soft grunt as she stooped. She stood and her hand disappeared. Her feet made no sound on the teak boards, but after a few seconds had passed he heard a door—to the galley, perhaps—open and close.
He was the only man aboard. He felt it—a minus something, which eased him. The two or three—he didn’t know how many—women who were handling the boat would soon dock at a private pier where there would be no customs inspector stamping passports and furrowing his brow with importance.
The light from the passage allowed him to examine the closet. It was a shelved storage room with a mixture of snorkeling and fishing gear and ship’s supplies. A topless crate took up most of the room on the floor. In it were twelve miniature orange trees, all bearing fruit. The man pulled off one of the tiny oranges no bigger than a good-sized strawberry and ate it. The meat was soft, fiberless and bitter. He ate another. And another. And as he ate a wide surgical hunger opened up in him. He had not eaten since the night before, but the hunger that cut through him now was as unaccounted for as it was sudden.
The boat was under way and it did not take him long to realize that they were headed out, not for Queen of France after all. But not very far, he thought. Women with polished fingernails who needed suntan oil would not sail off into the night if they were going very far. So he chewed bitter oranges and waited on his haunches in the closet. When the boat finally drew along and the engine was cut, his hunger was no longer formal; it made him squeeze his fingers together to keep from bolting out of the closet toward the kitchen. But he waited—until the light footsteps were gone. Then he stepped into the passageway spotted in two places by moonlight. Topside he watched two figures moving behind the beam of a heavy-duty flashlight. And when he heard a car’s engine start up, he went below. Quickly he found the galley, but because lights would not do, he patted counter surfaces for matches. There weren’t any and the stove was electric. He opened a little refrigerator and discovered its bottled water and half a lime. Elsewhere, in refrigerator light, he located a jar of Dijon mustard, but nothing of the curry food. The dishes were rinsed and so was a white carton. The women had not
1
THE END of the world, as it turned out, was nothing more than a collection of magnificent winter houses on Isle des Chevaliers. When laborers imported from Haiti came to clear the land, clouds and fish were convinced that the world was over, that the sea-green green of the sea and the sky-blue blue of the sky were no longer permanent. Wild parrots that had escaped the stones of hungry children in Queen of France agreed and raised havoc as they flew away to look for yet another refuge. Only the champion daisy trees were serene. After all, they were part of a rain forest already two thousand years old and scheduled for eternity, so they ignored the men and continued to rock the diamondbacks that slept in their arms. It took the river to persuade them that indeed the world was altered. That never again would the rain be equal, and by the time they realized it and had run their roots deeper, clutching the earth like lost boys found, it was too late. The men had already folded the earth where there had been no fold and hollowed her where there had been no hollow, which explains what happened to the river. It crested, then lost its course, and finally its head. Evicted from the place where it had lived, and forced into unknown turf, it could not form its pools or waterfalls, and ran every which way. The clouds gathered together, stood still and watched the river scuttle around the forest floor, crash headlong into the haunches of hills with no notion of where it was going, until exhausted, ill and grieving, it slowed to a stop just twenty leagues short of the sea.
The clouds looked at each other, then broke apart in confusion. Fish heard their hooves as they raced off to carry the news of the scatterbrained river to the peaks of hills and the tops of the champion daisy trees. But it was too late. The men had gnawed through the daisy trees until, wild-eyed and yelling, they broke in two and hit the ground. In the huge silence that followed their fall, orchids spiraled down to join them.
When it was over, and houses instead grew in the hills, those trees that had been spared dreamed of their comrades for years afterward and their nightmare mutterings annoyed the diamondbacks who left them for the new growth that came to life in spaces the sun saw for the first time. Then the rain changed and was no longer equal. Now it rained not just for an hour every day at the same time, but in seasons, abusing the river even more. Poor insulted, brokenhearted river. Poor demented stream. Now it sat in one place like a grandmother and became a swamp the Haitians called Sein de Vieilles. And witch’s tit it was: a shriveled fogbound oval seeping with a thick black substance that even mosquitoes could not live near.
But high above it were hills and vales so bountiful it made visitors tired to look at them: bougainvillea, avocado, poinsettia, lime, banana, coconut and the last of the rain forest’s champion trees. Of the houses built there, the oldest and most impressive was L’Arbe de la Croix. It had been designed by a brilliant Mexican architect, but the Haitian laborers had no union and therefore could not distinguish between craft and art, so while the panes did not fit their sashes, the windowsills and door saddles were carved lovingly to perfection. They sometimes forgot or ignored the determination of water to flow downhill so the toilets and bidets could not always produce a uniformly strong swirl of water. But the eaves were so wide and deep that the windows could be left open even in a storm and no rain could enter the rooms—only wind, scents and torn-away leaves. The floor planks were tongue-in-groove, but the hand-kilned tiles from Mexico, though beautiful to behold, loosened at a touch. Yet the doors were plumb and their knobs, hinges and locks secure as turtles.
It was a wonderful house. Wide, breezy and full of light. Built in the days when plaster was taken for granted and with the sun and the airstream in mind, it needed no air conditioning. Graceful landscaping kept the house just under a surfeit of beauty. Every effort had been made to keep it from looking “designed.” Almost nothing was askew and the few things that were had charm: the little island touches here and there (a washhouse, a kitchen garden, for example) were practical. At least that was the judgment of discriminating visitors. They all agreed that except for the unfortunate choice of its name it was “the most handsomely articulated and blessedly unrhetorical house in the Caribbean.” One or two had reservations—wondered whether all that interior sunlight wasn’t a little too robust and hadn’t the owner gone rather overboard with the recent addition of a greenhouse? Valerian Street was mindful of their criticism, but completely indifferent to it. His gray eyes drifted over the faces of such guests like a four o’clock shadow on its way to twilight. They reminded him of the Philadelphia widows who, when they heard he was going to spend the whole first year of his retirement in his island house, said, “You’ll be back. Six months and you will be bored out of your mind.” That was four Decembers ago, and the only things he missed were hydrangeas and the postman. The new greenhouse made it possible to reproduce the hydrangea but the postman was lost to him forever. The rest of what he loved he brought with him: some records, garden shears, a sixty-four-bulb chandelier, a light blue tennis shirt and the Principal Beauty of Maine. Ferrara Brothers (Domestic and International) took care of the rest, and with the help of two servants, the Principal Beauty and mounds of careful correspondence he was finally installed for the year on a hill high enough to watch the sea from three sides. Not that he was interested. Beyond its providing the weather that helped or prevented the steamers bringing mail, he never gave the sea a thought. And whatever he did think about, he thought it privately in his greenhouse. In the late afternoons, when the heat had to be taken seriously, and early in the morning, he was there. Long before the Principal Beauty had removed her sleeping mask, he turned the switch that brought the “Goldberg” Variations into the greenhouse. At first he’d experimented with Chopin and some of the Russians, but the Magnum Rex peonies, overwhelmed by all that passion, whined and curled their lips. He settled finally on Bach for germination, Haydn and Liszt for strong sprouting. After that all of the plants seemed content with Rampal’s Rondo in D. By the time he sugared his breakfast coffee, the peonies, the anemones and all their kind had heard forty or fifty minutes of music which nourished them but set Sydney the butler’s teeth on edge although he’d heard some variety of it every day for forty years. What made it bearable now was that the music was confined to the greenhouse and not swarming all through the house as it often did back in Philadelphia. He could hear it only thinly now as he wiped moisture beads from a glass of iced water with a white napkin. He set it near the cup and saucer and noticed how much the liver spots had faded on his employer’s hand. Mr. Street thought it was the lotion he rubbed on nightly, but Sydney thought it was the natural tanning of the skin in this place they had all come to three years ago.
Except for the kitchen, which had a look of permanence, the rest of the house had a hotel feel about it—a kind of sooner or later leaving appearance: a painting or two hung in an all right place but none was actually stationed or properly lit; the really fine china was still boxed and waiting for a decision nobody was willing to make. It was hard to serve well in the tentativeness. No crystal available (it too was closed away in Philadelphia) so a few silver trays had to do for everything from fruit to petits fours. Every now and then, the Principal Beauty, on one of her trips, brought back from the States another carton chock-full of something Sydney asked for: the blender, the carborundum stone, two more tablecloths. These items had to be carefully selected because they were exchanged for other items that she insisted on taking back to Philadelphia. It was her way of keeping intact the illusion that they still lived in the States but were wintering near Dominique. Her husband encouraged her fantasy by knotting every loose string of conversation with the observation “It can wait till we get home.” Six months after they’d arrived Sydney told his wife that periodic airing of trunk luggage in the sunlight was more habit than intention. They would have to tear down that greenhouse to get him off the island because as long as it was there, he’d be there too. What the devil does he do in there, she had asked him.
“Relaxes a little, that’s all. Drinks a bit, reads, listens to his records.”
“Can’t nobody spend every day in a shed for three years without being up to some devilment,” she said.
“It’s not a shed,” said Sydney. “It’s a greenhouse I keep telling you.”
“Whatever you call it.”
“He grows hydrangeas in there. And dahlias.”
“If he wants hydrangeas he should go back home. He hauls everybody down to the equator to grow Northern flowers?”
“It’s not just that. Remember how he liked his study back at the house? Well, it’s like that, except it’s a greenhouse kind of a study.”
“Anybody build a greenhouse on the equator ought to be shame.”
“This is not the equator.”
“Could of fooled me.”
“Nowhere near it.”
“You mean there’s some place on this planet hotter than this?”
“I thought you liked it here.”
“Love it.”
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