Continental Drift

by Russell Banks

  Tyrone looks at Bob with cold disgust. “We cut dem fuckin’ Haitians loose, den maybe we get home tonight. Captain.”

  “Otherwise?”

  Tyrone does not answer.

  Bob shouts, “They’ve got us anyhow, the coast guard! We’re caught anyhow!”

  “No, dem got to stop to pick up de Haitians. Wid dem gone, de boat fast enough to get us out of here first maybe!”

  “Or else we end up in jail, and they go back to Haiti! Right? Right, Tyrone?”

  Again, Tyrone says nothing.

  Bob says, “All right. Go ahead.” Tyrone leaps away and down the ladder.

  Bob looks over the rail to the deck below, where the Jamaican frantically, roughly, yanks the Haitians out from under the tarpaulin. He’s shouting at them in Creole and Jamaican patois, making it very clear that they must jump into the water, and they must do it now. Every few seconds he points out to where they spotted the coast guard cutter, though Bob can no longer see her, for they’re down in the trough between waves again, and Tyrone pulls at their arms, shoving the Haitians toward the starboard rail, but they shake their heads no, and a few start to cry and wail, no, no, they will not go. They cling to one another and to the chocks and cleats and gunwales and look wild-eyed about them, at the towering sea, at Bob up on the bridge, at Tyrone jumping angrily about, at each other, and they weep and beg, No, no, please don’t make us leave the boat for the terrible sea.

  The Belinda Blue rises to the ridge of water, and Bob sees the cutter again, now clearly turning back toward them, and they’ve got searchlights whipping wands of light across the water. “They’re turning, they’re gonna try to board us!” he yells down, and he sees Tyrone step from the cabin with a rifle in his hand, the shark gun, a 30-06 with a scope, and Bob says quietly, “Tyrone, for Christ’s sake.”

  The Haitians back swiftly away from Tyrone, horrified. With the barrel of the gun, he waves them toward the rail and tells them once again to jump, but they won’t move. The babies are screaming now, and the women and several of the men are openly weeping. Claude’s face is frozen in a look of amazed grief.

  Tyrone pulls the trigger and fires into the air, and one of the Haitians, the boy Claude, leaps into the water and is swept away. A second follows, and then a woman. Tyrone screams at the rest to jump, and he fires again.

  Bob bellows from the bridge, “Tyrone! For Christ’s sake, stop! They’re drowning!” But the Jamaican is now bodily hurling the Haitians into the sea, one after the other, the old man, the woman with the two small children, Vanise and her child, the old woman. He’s clearing the deck of them. They weep and cry out for help from God, from the loas, from Bob, who looks on in horror, and then they are gone, lifted up by the dark waves and carried away toward the shore.

  Tyrone scrambles back up to the bridge, the rifle still in his hand, and he wrenches the wheel away from Bob and hits the throttle hard, bringing the boat swiftly around to port and away. Off to the north a few hundred yards, its searchlights sweeping over the water, the cutter has slowed and stopped, for they have apparently spotted the Haitians bobbing in the water. Bob sees that they are dropping a lifeboat from the stern. He follows one of the beams of light out to where it has fixed on a head in the water, one of the young men, and then he sees the man go down. The light switches back and forth, searching for him, then seems to give up and move on, looking for others. “They’re drowning!” he cries. “They’re drowning!”

  Tyrone doesn’t answer. He shoves the rifle at Bob and takes the wheel with both hands, bucking the Belinda Blue into the waves, driving her against mountains of water and quickly away from shore, heading her straight out to sea.

  Bob holds the gun for a moment, looks at it as if it were a bloody ax. Then he lifts it over his head with two hands and hurls it into the sea.

  Tyrone looks over his shoulder at Bob and says, “Good idea, mon. Dem prob’ly heard de shootin’. Nobody can say we de ones doin’ de shootin’ now. Got no gun, got no Haitians,” he says, smiling. Then he says, “Better clear de deck of anyt’ing dem lef’ behind, mon.”

  Slowly Bob descends to the deck, and kneeling down, he crawls under the tarpaulin, reaching around in the dark, until he comes up with several battered suitcases, a cloth bundle, a woven bag, and he tosses them overboard one by one, watches them bob on the water a second, then swiftly sink.

  It’s a pink dawn, the eastern sky stretched tight as silk on a frame. Overhead, blue-gray rags of cloud ride in erratic rows, while in the west, over southern Florida, the sky is dark and overcast. A man with white hair leads a nosy, head-diving dog, a blue-black Labrador, from his house and down the sandy walkway to the beach.

  The man and the dog stroll easily south, and now and then the man stops and picks up a piece of weathered beach glass for his collection. The dog turns and waits, and when the man stands and moves on, the dog bounds happily ahead.

  A quarter mile from where they started, the dog suddenly darts into the water, and the man stops and stares, as a body, a black woman’s body, passes by the dog and with the next wave is tossed onto the beach. A few yards beyond, a child’s body has been shoved up onto the beach, and beyond that, a pair of men lie dead on the sand.

  The man counts five bodies in all, and then he turns and runs back up the beach, his dog following, to his home, where he calls the local police. “Haitians, I’m sure of it. Washing up on the sand, just like last time. Women and children this time, though. It’s just awful,” he says. “Just awful.”

  A mile south of where the other bodies came to shore at Golden Beach, and five miles south of Hollywood, while ambulance crews are lugging the bodies away from the water and up the beach to the ambulances, a woman struggles through the last few waves to the shore. She is alone, a young black woman with close-cropped hair, her dress yanked away from her by the force of the water, her limbs hanging down like anchors, as she staggers, stumbles, drags herself out of the water and falls forward onto the sand. Her name is Vanise Dorsinville; she is the only Haitian to survive the journey from New Providence Island to Florida on the Belinda Blue.

  At the same time, possibly at the same moment, for these events have a curious way of coordinating themselves, Bob Dubois brings the Belinda Blue in from the open sea, passes under the bridge at Lower Matecumbe Key and heads for the Moray Key Marina. He cuts back the throttle as he enters the marina, letting the boat drift around to starboard so he can reverse her into the slip next to the Angel Blue, and he notices that Ave’s boat is gone from the slip.

  He puts the boat into reverse, and his Jamaican mate jumps onto the deck in the bow, ready to tie her up. Bob is backing the boat skillfully into the slip, when he sees, standing on the pier, apparently waiting for them, two Florida state troopers.

  The Jamaican looks up at Bob on the bridge. “Get out, Bob! Reverse de fuckin’ boat, mon, and get ’er out of here!”

  Bob simply shakes his head no and calmly backs the boat into the slip.

  Gan Malice O!

  Two nights after the night the Haitians drowned in the waves off the beach at Sunny Isles, a man and two women lead Vanise Dorsinville from a small white bungalow in northeast Miami, out a door at the back of the house into the packed dirt yard, the ground speckled in beige and dark brown in new moonlight and shade, palm fronds beyond the rickety fence chattering in the cool breeze, cars whizzing past overhead on the throughway. They step with care through an opening in the fence, replace the loose board that hides it, and soon they are walking directly beneath the highway, Interstate 95, which swoops over them from north to south, eight lanes of steel and concrete rushing as if downhill toward the tip of the continent, with garbage, broken bottles, rusting tin cans, old tires, rats and the carcasses of cats and dogs scattered below in the tufts of long yellow grass.

  Vanise leans heavily on the arm of the man, her brother and father of the boy Claude Dorsinville, who had liked and admired the white captain of the boat and had been the first of the Haitians to leap into the
water, as if to show them how easy it was, and, though he could not swim at all, must have believed that he was close enough to America to walk ashore, for he made no attempt to swim, did not struggle, did not even call out, but simply went to the bottom, as if thrown surprised from a great height.

  His body and the body of Vanise’s baby will eventually be found, like most of the others, bloated, purplish-gray, half eaten by sharks and birds, in the sands along the stretch of fine white beach south of Bal Harbour, by horrified joggers, beachcombers, early morning surfers and fishermen. No one will be able to identify them, although everyone will know they are the Haitians the newspapers said were cast off an American boat when the coast guard threatened to board it, a boat that slipped away while the coast guard tried to save the drowning Haitians and raced away to the south without giving up its identity or the names of the man who was the captain and the man who was his mate.

  Vanise alone survived, which she believes is due to the particular intervention of Ghede, dark and malicious loa of death and regeneration, who needed one of them to survive the drownings, any one of them at all, so why not Vanise, a strong young woman with firm, warm loins, which Ghede, in his gluttony for flesh, is known to relish? Ghede, Vanise believes, wanted one of them to survive so as to feed him the others, to act as his agent, for he is a devourer of human flesh, insatiable, jackal-like, a loa who schemes endlessly to obtain what he endlessly needs. There is no other explanation for her not having drowned in the storm with the others, for she cannot swim any more than her nephew or child could, and the waters were as fierce for her as for them, the waves as heavy, the sharks as hungry, hard and swift.

  People who have no power, or believe they have none, also believe that everything that happens is caused by a particular, powerful agent; people who have power, people who can rest easily saying this or that event happened “somehow,” call the others superstitious, irrational and ignorant, even stupid. The truly powerless are none of these, however, for they and perhaps they alone know that luck, bad luck as much as good, is a luxurious explanation for events. When you have even partial control over your destiny, you’re inclined to deny that you do, because you’re afraid the control will go away. That’s superstition. But when, like Vanise, you have no control over your destiny, it’s reasonable to assume that someone or something else does, which is why it’s reasonable, not irrational, for Vanise to believe that the bizarre fact of her survival, her destiny now, is due to a loa’s intervention, and because of the particulars, it’s reasonable for her to assume that the loa is Ghede.

  After God, we are in your hands, Ghede Nimbo, the hounsis canzos sing to the loa who stands at the entrance to the underworld, the loa who leans wickedly on the jambs of the gate before the abyss, smokes his cigar, peers through sunglasses and in his reedy, nasal voice says, You, and Not you, and You, and Not you. He waves and pokes and even shoves you through the gate and over the abyss with his thick, stiff hickory stick, then holds back with his stick you who are to stay on this side, lifting your skirt above your hips, if you are a woman, smacking his lips voraciously and poking the men and boys on their crotches and butts, turning his back and flipping up the tails of his long black coat in a shameless prance.

  Ghede is the cynical trickster, the glutton, he who foments not death but dying, not salvation but consumption, not fucking but orgasm. He celebrates the passage over from one state to another. Whether physical or metaphysical, Ghede could not care less; it’s all the same to him. Morality he scorns altogether, for he knows he is the last recourse; sentimentality he mocks in song, in his high, childish voice singing, I wuv, you wuv, she wuvs! And what does that make? L’amour! he cries, and strokes his erect penis beneath his trousers. With his motley, his costumes and beggar’s bowl, he derides worldly ambition; with his complaints about the exorbitant costs of keeping up his Dynaflow, he parodies materialism. He dresses women as men, men as women, and asserts the insipidity of biology’s brief distinctions. As clown and trickster, he’s called Mr. Entretoute. As erotic lord, he’s Brav Ghede. As cannibal, he’s Criminelle, devourer of living flesh. And when he stands before the open grave, he’s Baron Cimetière, the trickster become transformer, the clown become magician, he who has the power to animate the dead and slay the living, master of the zombis, he who can change men into beasts and who, properly placated, can bring the sick and dying back to life. And as the loa of regeneration and death, the loa of soullessness, Ghede it is whom you must please if you have lost a child and the child, in its leaving, because it has no soul yet, has stolen yours.

  Such a one is Vanise Dorsinville. When her brother was taken to her by the Haitian man who found her wandering dazed along the side of the highway a few hundred yards south of the town of Sunny Isles, the man who found her, a groundskeeper walking early to work at the Haulover Beach Park Golf Course, said, The woman is gone, Émile. She says she’s gone off to be with Baron Cimetière. She knows her name and yours, but not much else.

  They have worked together for several years, Émile Dorsinville and the man who found his sister, and like most Haitians in south Florida, live close to one another in Little Haiti, that section of northeast Miami between I-95 and Second Avenue where the narrow streets and alleys and the low bungalows, cinder-block warehouses, garages, shanties and boarded-up storefronts house thousands of recently arrived Haitians; where the air is thick with the smells of their food—baked yams, cassava, plantains, goat and roast pig cooked in yards on charcoal fires or in crowded, makeshift kitchens on hot plates and kerosene burners; where the quick, sexy Haitian music blasts onto the street from record shops and drifts from car radios and all day and night long from transistors set up on windowsills; where women walk barefoot along the dusty sidewalks in ankle-length dresses of gorgeously colored cloth and the men wear white shirts and dark trousers and fedoras and put one foot up on the bumper of a parked car and talk Haitian politics or sit around with a piece of Masonite on their laps and play dominoes until dawn, slamming the large ivory pieces down one upon the other in a long, superbly intelligent run, followed by a round of drinks and yet another game.

  Émile took his sister home on the bus that morning, left her in the room with the women who share it with him and returned to work, scolded and docked a half day’s pay by the head groundskeeper. That night, when he arrived back at his home, he learned his sister’s story. She was asleep now, washed and put to bed by Marie and Thérèse, second cousins to Émile, fat women in their middle fifties, legal residents of America, Catholic churchgoers, kindly and without family, except for the skinny man they hide in their room and who, in return, supports them when they cannot find work cleaning the houses of white or Cuban people.

  The women had succeeded during the day in getting the girl to talk, or at least to nod yes and no to their questions while they washed and soothed her. They did not learn about Vanise’s child, and they did not learn about Émile’s son Claude. Instead, they concluded that Vanise had come over from Haiti alone, as they themselves had done years before and as Émile had done.

  She was on a boat, they told Émile, and there was a great storm, and the Haitians on the boat had to jump into the sea when the boat began to sink. She was saved from drowning by Brav Ghede, no other. That’s all she can say, Thérèse reported. Ghede, Ghede, Ghede.

  Émile shook his head no, frowned and looked down on the face of his sister as she slept. Not that one, he said. Not Ghede. She’ll tell us more when she’s rested and has eaten.

  But she did not tell them anything more. She woke and wept and murmured the name of Ghede, Brav Ghede, Baron Cimetière, moaning and turning in the wide bed, her face wet with sweat, her arms and legs tangling in the sheets. Émile and the two women washed her head with rags soaked with herbs—trois paroles, gâté sang and trompette—and to warm her heart and liver, made her sip a tea brewed from citronella grass.

  But Vanise spoke no more words, and soon she seemed not to recognize where she was or whom she was with. She s
tared at the worried dark faces above her as if they were cat faces or cow faces. Émile went to work the next day, and when he returned that evening and saw that his sister was the same, learned that she had called all day long for Ghede in all his names, he went out and made the arrangements to take her to Ghede.

  At the rear of a flaking white windowless two-story building with a flat roof, an abandoned warehouse located at the eastern end of Little Haiti several blocks off Miami Avenue, Émile stops and hands his sister to Thérèse and walks slowly up the rotting stairs to a loading dock, faces a door with a small square of plywood where there was once a pane of glass, and knocks. Rusting railroad tracks pass down the alley between the warehouses; from Miami Avenue in the distance comes the bustle of cars cruising late, windows open, radios blaring. A siren howls for a few seconds, then goes silent. Émile glances down the steps to his sister, held in the thick arms of Thérèse and Marie like a rag doll, limp and tiny, head lolling forward, arms hanging down, hands open as if to reveal stigmata. They have dressed her in a white frock, and she is barefoot.

  The door opens a crack, and Émile steps quickly away so he can be seen. Come in, Dorsinville, a man’s voice says. Émile turns and waves the others up.

  The two women hesitate, then Thérèse shakes her head no. You take her now, she says to Émile. I cannot go in there. I am Catholic. She checks Marie, who approves.

  Quickly, Émile descends the stairs and takes his sister from the women’s arms. I am Catholic also! he hisses, and he turns away and hitches the girl up the steps to the platform and takes her inside. The man closes the door and drops a bar to lock it.

  The man is carrying a flashlight, but aims it down, so Émile cannot see his face. They are inside a huge open space, he can feel that, despite the total darkness, and he can smell old paper and cloth, dry ticking and straw, as if the place had once been used to store mattresses.