by Ann
Of course, I did speak to him just once more, on the telephone. He rang me up about a week after the dinner, and he said he was going to collect the films – the photographs, you see. And I was glad he’d rung me, so I said yes. I was a bit embarrassed, because the rest of the film was all of my family, dad and mum, and Alice and the babies, and it was the first time I’d taken any photographs, and I was sure they’d be bad.
But then I didn’t hear again, and the next thing was, the policeman coming round in the afternoon, just as I was trying to get money in that rotten meter that’s so stiff. My washing was everywhere – it was Saturday – but he didn’t look. He helped me with the meter and then he put me in a chair, and he told me. Gordon had gone out on the Northern Line and – well, you know. He’d fallen under a train. Well they said, he’d thrown himself under. People had seen him do it. But how can I believe that? I mean, Gordon. It must be a mistake. But then, where was he going? He doesn’t have any relatives, and no friends out that way. Didn’t have. Well.
But I was so glad to get your kind letter. You see, I went round to Gordon’s flat this afternoon, they let me, because there were a few things of mine there, a couple of books I tried to get Gordon to read – I don’t think he did – and some gloves I’d left, little things – oh, and a casserole dish I’d bought him. It was a nice one. I thought I’d better have it, now.
And on the table in his room, there were the photographs. The police had obviously been there, because things were a bit disturbed, not the way Gordon would have left them. But the odd thing was, these photographs were lying on a newspaper, and they’d stuck to it, so they must have got wet. And – there was a strong smell of whisky, as if he’d spilled some. Maybe he had. He’d been drinking more lately, more than I’d known him do. I remember he said something strange – something about using a spirit to show a spirit. But he was always too clever for me.
Any way, I did look at the photographs, and I wondered if I could take them home, but I wasn’t sure, so I didn’t, though I can’t see that they’ll be any help to the police or anyone. Actually, I hadn’t done too badly for a beginner. The ones of the babies are really nice, though I’d made Alice look a bit fat, and she wouldn’t like that. The last one was the one the manager at the restaurant took of Gordon and me, and it was really a pity. I admit, it made me cry a bit. Because, it would have been nice to have a picture of him and me together, something to remember him by. It wasn’t just that we looked really daft – me all grinning and silly, and Gordon so puffed up and upset. No, there was this horrible big red and yellowish mark on the picture – I suppose something went wrong when it was taken, perhaps some light got in, or something, that can happen, can’t it?
The funny thing is, I can’t explain this, but there was something – something really awful about this mark. It sounds crazy and you’ll think I’m a proper dope. You know what an imagination I’ve got. You see, it looked to me like a funny sort of animal – a sort of snake thing, with hands – and a face. And the oddest part of all, it was in just this place that it looked as if it was sitting square on Gordon’s shoulders, with its tail coming down his collar, and its arm-things round his throat, and its face pressed close to his, as if it loved him and would never let go.
The Specialist’s Hat
Kelly Link
Kelly Link (1969–) is an influential American writer of hard-to-classify short fiction that has been described as fantasy, slipstream, or magic realism. Link has published three collections: Stranger Things Happen (2001), Magic for Beginners (2005), and Pretty Monsters (2008). Her stories have won the Nebula, Hugo, and World Fantasy Awards. Although not known as a writer of ‘weird tales’ per se, most of Link’s stories tend to be grounded in an underlying darkness. The story reprinted here, ‘The Specialist’s Hat’ (1998), creeps up on the reader, slowly trading a sense of innocence for one of terror. The story is technically as perfect as Shirley Jackson’s ‘The Summer People’ and showcases the effortless complexity of Link’s fiction.
‘When you’re Dead,’ Samantha says, ‘you don’t have to brush your teeth…”
‘When you’re Dead,’ Claire says, ‘you live in a box, and it’s always dark, but you’re not ever afraid.’
Claire and Samantha are identical twins. Their combined age is twenty years, four months, and six days. Claire is better at being Dead than Samantha.
The babysitter yawns, covering up her mouth with a long white hand. ‘I said to brush your teeth and that it’s time for bed,’ she says. She sits crosslegged on the flowered bedspread between them. She has been teaching them a card game called Pounce, which involves three decks of cards, one for each of them. Samantha’s deck is missing the Jack of Spades and the Two of Hearts, and Claire keeps on cheating. The babysitter wins anyway. There are still flecks of dried shaving cream and toilet paper on her arms. It is hard to tell how old she is – at first they thought she must be a grownup, but now she hardly looks older than them. Samantha has forgotten the babysitter’s name.
Claire’s face is stubborn. ‘When you’re Dead,’ she says, ‘you stay up all night long.’
‘When you’re Dead,’ the babysitter snaps, ‘it’s always very cold and damp, and you have to be very, very quiet or else the Specialist will get you.’
‘This house is haunted,’ Claire says.
‘I know it is,’ the babysitter says. ‘I used to live here.’
Something is creeping up the stairs,
Something is standing outside the door,
Something is sobbing, sobbing in the dark;
Something is sighing across the floor.
Claire and Samantha are spending the summer with their father, in the house called Eight Chimneys. Their mother is dead. She has been dead for exactly 282 days.
Their father is writing a history of Eight Chimneys and of the poet Charles Cheatham Rash, who lived here at the turn of the century, and who ran away to sea when he was thirteen, and returned when he was thirty-eight. He married, fathered a child, wrote three volumes of bad, obscure poetry, and an even worse and more obscure novel, The One Who Is Watching Me Through the Window, before disappearing again in 1907, this time for good. Samantha and Claire’s father says that some of the poetry is actually quite readable and at least the novel isn’t very long.
When Samantha asked him why he was writing about Rash, he replied that no one else had, and why didn’t she and Samantha go play outside. When she pointed out that she was Samantha, he just scowled and said how could he be expected to tell them apart when they both wore blue jeans and flannel shirts, and why couldn’t one of them dress all in green and the other in pink?
Claire and Samantha prefer to play inside. Eight Chimneys is as big as a castle, but dustier and darker than Samantha imagines a castle would be. There are more sofas, more china shepherdesses with chipped fingers, fewer suits of armor. No moat.
The house is open to the public, and, during the day, people – families – driving along the Blue Ridge Parkway will stop to tour the grounds and the first story; the third story belongs to Claire and Samantha. Sometimes they play explorers, and sometimes they follow the caretaker as he gives tours to visitors. After a few weeks, they have memorized his lecture, and they mouth it along with him. They help him sell postcards and copies of Rash’s poetry to the tourist families who come into the little gift shop.
When the mothers smile at them and say how sweet they are, they stare back and don’t say anything at all. The dim light in the house makes the mothers look pale and flickery and tired. They leave Eight Chimneys, mothers and families, looking not quite as real as they did before they paid their admissions, and of course Claire and Samantha will never see them again, so maybe they aren’t real. Better to stay inside the house, they want to tell the families, and if you must leave, then go straight to your cars.
The caretaker says the woods aren’t safe.
Their father stays in the library on the second story all morning, typing, and in the afternoon he
takes long walks. He takes his pocket recorder along with him and a hip flask of Gentleman Jack, but not Samantha and Claire.
The caretaker of Eight Chimneys is Mr. Coeslak. His left leg is noticeably shorter than his right. He wears one stacked heel. Short black hairs grow out of his ears and his nostrils and there is no hair at all on top of his head, but he’s given Samantha and Claire permission to explore the whole of the house. It was Mr. Coeslak who told them that there are copperheads in the woods, and that the house is haunted. He says they are all, ghosts and snakes, a pretty badtempered lot, and Samantha and Claire should stick to the marked trails, and stay out of the attic.
Mr. Coeslak can tell the twins apart, even if their father can’t; Claire’s eyes are grey, like a cat’s fur, he says, but Samantha’s are gray, like the ocean when it has been raining.
Samantha and Claire went walking in the woods on the second day that they were at Eight Chimneys. They saw something. Samantha thought it was a woman, but Claire said it was a snake. The staircase that goes up to the attic has been locked. They peeked through the keyhole, but it was too dark to see anything.
And so he had a wife, and they say she was real pretty. There was another man who wanted to go with her, and first she wouldn’t, because she was afraid of her husband, and then she did. Her husband found out, and they say he killed a snake and got some of this snake’s blood and put it in some whiskey and gave it to her. He had learned this from an island man who had been on a ship with him. And in about six months snakes created in her and they got between her meat and the skin. And they say you could just see them running up and down her legs. They say she was just hollow to the top of her body, and it kept on like that till she died. Now my daddy said he saw it.
– An Oral History of Eight Chimneys
Eight Chimneys is over two hundred years old. It is named for the eight chimneys that are each big enough that Samantha and Claire can both fit in one fireplace. The chimneys are red brick, and on each floor there are eight fireplaces, making a total of twenty-four. Samantha imagines the chimney stacks stretching like stout red tree trunks, all the way up through the slate roof of the house. Beside each fireplace is a heavy black firedog, and a set of wrought iron pokers shaped like snakes. Claire and Samantha pretend to duel with the snake-pokers before the fireplace in their bedroom on the third floor. Wind rises up the back of the chimney. When they stick their faces in, they can feel the air rushing damply upwards, like a river. The flue smells old and sooty and wet, like stones from a river.
Their bedroom was once the nursery. They sleep together in a poster bed which resembles a ship with four masts. It smells of mothballs, and Claire kicks in her sleep. Charles Cheatham Rash slept here when he was a little boy, and also his daughter. She disappeared when her father did. It might have been gambling debts. They may have moved to New Orleans. She was fourteen years old, Mr. Coeslak said. What was her name, Claire asked. What happened to her mother, Samantha wanted to know. Mr. Coeslak closed his eyes in an almost wink. Mrs. Rash had died the year before her husband and daughter disappeared, he said, of a mysterious wasting disease. He can’t remember the name of the poor little girl, he said.
Eight Chimneys has exactly one hundred windows, all still with the original wavery panes of handblown glass. With so many windows, Samantha thinks, Eight Chimneys should always be full of light, but instead the trees press close against the house, so that the rooms on the first and second story – even the third-story rooms – are green and dim, as if Samantha and Claire are living deep under the sea. This is the light that makes the tourists into ghosts. In the morning, and again towards evening, a fog settles in around the house. Sometimes it is grey like Claire’s eyes, and sometimes it is gray, like Samantha’s eyes.
I met a woman in the wood,
Her lips were two red snakes.
She smiled at me, her eyes were lewd
And burning like a fire.
A few nights ago, the wind was sighing in the nursery chimney. Their father had already tucked them in and turned off the light. Claire dared Samantha to stick her head into the fireplace, in the dark, and so she did. The cold wet air licked at her face and it almost sounded like voices talking low, muttering. She couldn’t quite make out what they were saying.
Their father has mostly ignored Claire and Samantha since they arrived at Eight Chimneys. He never mentions their mother. One evening they heard him shouting in the library, and when they came downstairs, there was a large sticky stain on the desk, where a glass of whiskey had been knocked over. It was looking at me, he said, through the window. It had orange eyes.
Samantha and Claire refrained from pointing out that the library is on the second story.
At night, their father’s breath has been sweet from drinking, and he is spending more and more time in the woods, and less in the library. At dinner, usually hot dogs and baked beans from a can, which they eat off of paper plates in the first-floor dining room, beneath the Austrian chandelier (which has exactly 632 leaded crystals shaped like teardrops), their father recites the poetry of Charles Cheatham Rash, which neither Samantha nor Claire cares for.
He has been reading the ship diaries that Rash kept, and he says that he has discovered proof in them that Rash’s most famous poem, ‘The Specialist’s Hat,’ is not a poem at all, and in any case, Rash didn’t write it. It is something that one of the men on the whaler used to say, to conjure up a whale. Rash simply copied it down and stuck an end on it and said it was his.
The man was from Mulatuppu, which is a place neither Samantha nor Claire has ever heard of. Their father says that the man was supposed to be some sort of magician, but he drowned shortly before Rash came back to Eight Chimneys. Their father says that the other sailors wanted to throw the magician’s chest overboard, but Rash persuaded them to let him keep it until he could be put ashore, with the chest, off the coast of North Carolina.
The specialist’s hat makes a noise like an agouti;
The specialist’s hat makes a noise like a collared peccary;
The specialist’s hat makes a noise like a white-lipped peccary;
The specialist’s hat makes a noise like a tapir;
The specialist’s hat makes a noise like a rabbit;
The specialist’s hat makes a noise like a squirrel;
The specialist’s hat makes a noise like a curassow;
The specialist’s hat moans like a whale in the water;
The specialist’s hat moans like the wind in my wife’s hair;
The specialist’s hat makes a noise like a snake;
I have hung the hat of the specialist upon my wall.
The reason that Claire and Samantha have a babysitter is that their father met a woman in the woods. He is going to see her tonight, and they are going to have a picnic supper and look at the stars. This is the time of year when the Perseids can be seen, falling across the sky on clear nights. Their father said that he has been walking with the woman every afternoon. She is a distant relation of Rash and besides, he said, he needs a night off and some grownup conversation.
Mr. Coeslak won’t stay in the house after dark, but he agreed to find someone to look after Samantha and Claire. Then their father couldn’t find Mr. Coeslak, but the babysitter showed up precisely at seven o’clock. The babysitter, whose name neither twin quite caught, wears a blue cotton dress with short floaty sleeves. Both Samantha and Claire think she is pretty in an old-fashioned sort of way.
They were in the library with their father, looking up Mulatuppu in the red leather atlas, when she arrived. She didn’t knock on the front door, she simply walked in and then up the stairs, as if she knew where to find them.
Their father kissed them goodbye, a hasty smack, told them to be good and he would take them into town on the weekend to see the Disney film. They went to the window to watch as he walked into the woods. Already it was getting dark and there were fireflies, tiny yellow-hot sparks in the air. When their father had entirely disappeared into the tree
s, they turned around and stared at the babysitter instead. She raised one eyebrow. ‘Well,’ she said. ‘What sort of games do you like to play?’
Widdershins around the chimneys,
Once, twice, again.
The spokes click like a clock on the bicycle;
They tick down the days of the life of a man.
First they played Go Fish, and then they played Crazy Eights, and then they made the babysitter into a mummy by putting shaving cream from their father’s bathroom on her arms and legs, and wrapping her in toilet paper. She is the best babysitter they have ever had.
At nine-thirty, she tried to put them to bed. Neither Claire nor Samantha wanted to go to bed, so they began to play the Dead game. The Dead game is a let’s pretend that they have been playing every day for 274 days now, but never in front of their father or any other adult. When they are Dead, they are allowed to do anything they want to. They can even fly by jumping off the nursery bed, and just waving their arms. Someday this will work, if they practice hard enough.
The Dead game has three rules.
One. Numbers are significant. The twins keep a list of important numbers in a green address book that belonged to their mother. Mr. Coeslak’s tour has been a good source of significant amounts and tallies: they are writing a tragical history of numbers.
Two. The twins don’t play the Dead game in front of grownups. They have been summing up the babysitter, and have decided that she doesn’t count. They tell her the rules.
Three is the best and most important rule. When you are Dead, you don’t have to be afraid of anything. Samantha and Claire aren’t sure who the Specialist is, but they aren’t afraid of him.
