Hallie was a more natural abbreviation, from the time she could walk people never called her anything but that, although Halimeda actually had some truth in it; she made you look for things beyond what you could see. I could imagine Doc Homer dreaming up these names, confident we'd both take noble courses. Suddenly I felt dragged down by emotions as I walked along, as if I'd swum out into a calm sea and encountered a bad undertow. I carried my suitcases toward the edge of town.
An old, densely planted pecan orchard stretched out from the edge of the courthouse square, and somewhere behind it lay Emelina's place. The reflected sky ran like a vein of silver in the irrigation ditch, but when I left the street and stepped under the canopy of trees it was dark. If you've never walked through an old orchard, you have to imagine this: it presents you with an optical illusion. You move through what looks like a hodgepodge thicket of trees, but then at intervals you find yourself at the center of long, maddeningly straight rows of trees, standing like soldiers at attention. There's a graveyard in northern France where all the dead boys from D-Day are buried. The white crosses reach from one horizon to the other. I remember looking it over and thinking it was a forest of graves. But the rows were like this, dizzying, diagonal, perfectly straight, so after all it wasn't a forest but an orchard of graves. Nothing to do with nature, unless you count human nature.
A bird scream rang out from the leaves and echoed up my spine with a shiver that ended in my scalp. I believe it was the first sound I'd heard since the gear grinding of the bus. I stopped to listen. Quiet. Then another bird answered from behind me, close by. It sounded like the throaty, exotic laughter of a foreigner--like a jungle bird. The peacocks. These orchards were full of peacocks, living more or less wild and at the mercy of coyotes but miraculously surviving in droves. There was a local legend, supposedly true, about how they got here a hundred years ago: the nine blue-eyed Gracela sisters came over from Spain to marry nine lucky miners in the gold camp, sight unseen. Back then these hills were run through with gold veins and drew a crowd of men who had too much money and too little love. The sisters were just children, and only agreed to come if they could bring their birds with them in the hold of the ship. Their legacy in Gracela Canyon was a population of blue-eyed, dark-haired descendants and a thousand wild peacocks. Their father stayed behind and got rich by proxy, for he'd literally sold his girls for a gold mine.
The branches were ringing with bird calls now. And I could hear kids laughing. A whole chorus of them screamed at once. Toward the far end of the orchard I could make out children's silhouettes jumping and dancing under the trees. It was dark in there for mid-day but I definitely saw kids: little girls in billowy dresses and boys in white shirts. I couldn't make out their game. The tallest boy had a stick and they were chasing something and flailing at it. I walked down the row toward them, towing my bigger suitcase like an anchor. I was traveling light in theory, but I'd dragged with me into Grace a substantial reference library. It had taken me a lot of nervous weeks to narrow down what books to bring. At the very last minute I'd thrown out Gray's Anatomy because Doc Homer would have it.
I stepped over the irrigation trenches, mindful of my Italian leather uppers. I'm picky about shoes, and there was no replacing these now. I smiled, thinking of the awful silver loafers in the Hollywood Shop. I envisioned my predecessor at the high school dressed like that, standing in front of a classroom of fifteen-year-olds, twisting her white chiffon scarf as she explained cell division. What would these kids make of me? My shoes were pointed and my, as the magazines say, personal style leaned toward apologetic punk. I'd never had a teacher who looked like me; probably there was a reason.
I stopped to massage my aching shoulder. There was something up there at the edge of the orchard all right, a bunch of kids, and something in the trees over their heads. I thought about skirting around the little gang to avoid spoiling their fun, or maybe, actually, because I was afraid. I tried to move quietly. Whatever it was they were chasing, they were going to get it.
I could see plainly then that it was a heavy-bodied peacock shuffling from side to side on a low branch. Apparently the creature was too dull-witted or terrorized to escape, or possibly already injured. The children pursued it ferociously, jumping up and pulling at its long tail feathers, ready to tear it to pieces. The boy with the stick hit hard against the belly and they all shrieked. He hit it again. I couldn't see the stick but I heard the sickening whack when it made contact.
I looked away. I'd arrived in Grace, arrived at that moment in my life, without knowing how to make the kind of choice that was called for here. I'm not the moral guardian in my family. Nobody, not my father, no one had jumped in to help when I was a child getting whacked by life, and on the meanest level of instinct I felt I had no favors to return. Especially to a bird. It was Hallie's end of my conscience that kept pinching me as I walked. I dropped my bags and walked a little faster, trying to think of some commanding thing to say. If they didn't stop soon the thing would be maimed or dead.
"Stop it!" I yelled. My heart was thumping. "You're killing that bird!"
The boy froze like a rabbit in headlights. The other kids, down on their knees, stared too. I'd arrested them in the act of grabbing fistfuls of bright paper and candy that sparkled on the ground. The mute peacock swung over their heads on a wire. Its fractured body hung in clay shards the size of plate, held together by a crepe-paper skin.
When I was ten I'd demolished a pinata exactly like this one, with blue paper wings and a long glossy tail of real feathers. At a birthday party. At some time or other every child in Grace had done the same.
After an impossible few seconds they went back to scrambling for their prize. Two older girls helped the smallest kids scoop candy into piles in their laps. A cluster of boys elbowed and slapped each other behind the girls' backs.
I felt disoriented and disgraced, a trespasser on family rites. I walked away from the little group of kids back toward the place in the center of the orchard where I must have left my suitcases. I wondered in what dim part of Grace I'd left my childhood.
HOMERO
3
The Flood
The leaves shine like knife blades in the beam of his flashlight. The rain has slowed, but the arroyo is still a fierce river of mud and uprooted trees that won't crest until dawn. He is wet and chilled to his spine. The girls are lost. The sound of the flood makes his blood cold.
They wanted to gather prickly-pear fruits for jelly. They knew a storm was coming and they went anyway, while he was in his workroom. He follows the narrow animal path between thickets of thorn scrub along the bank, shining his light along the edge of the rising water. Acacias lean into the river with their branches waving wildly in the current, like mothers reaching in for lost babies. The girls ignore his cautions because they are willful children who believe nothing can harm them. Hallie is bad but Cosima is worse, pretty and stubborn as a wild horse but without an animal's instincts for self-preservation--and she's the older. She should have some sense.
He forces his body through the bank of oleanders near the house and turns back toward the riverbed to search the arroyo to the south. He has no idea which way they would have gone; they roam this desert like pocket mice. And everything in a desert is poisonous or thorned. Good Lord, he has already lost a wife, and did not think his heart would live beyond her. Wished it wouldn't. He slashes at the oleanders with the metal flashlight. He'd meant to cut these down when Cosima was born. One well-chewed leaf could bring on cardiac arrest in a child. He'd seen a case years ago, or was it later, after the girls left home? That blue girl?
Doc Homer sits up in his bed and stares at the orange pill bottles on the windowsill. There is light at the window. It's a Sunday morning in August. It is only a month ago he lost that blue girl. His own daughters are grown and living somewhere else, looking after themselves, but his heart is still pumping hard. His circulatory system believes they are still lost.
He turns his pillow and r
ests his head on it carefully because his brain gets jostled and things move around inside his head like olives in a jar of brine. Think about the flood. He is going south on the near side of the arroyo. He stops to look back upstream and his light finds them, by pure luck, on the opposite bank. Cosima's thin, waving arms shine like the crisscrossing blades of scissors. They are screaming but he only sees their mouths stretched open like the mouths of fledgling birds. Absolute expectation, Papa will save us. The road is washed out, and he has to think how else he will get to them. He realizes, stunned, that they have been huddled there for half a day. The road has been washed out that long.
How does he reach them? A boat? No, that wouldn't have been possible. He sits up again. He has no clear image of reaching them, no memory of their arms on his neck, he only hears them crying over the telephone. And then he understands painfully that he wasn't able to go to them. There is no memory because he wasn't there. He had to call Uda Dell on the other side of the arroyo. Her husband was alive then, and went down the bank on his mule to find them in a washed-open coyote burrow with seven pups the girls wanted to save.
"There were seven," she'd wailed over the telephone. "I could carry four but Hallie could only get one in each hand and we didn't want to leave the other one. He would have gotten drowned." Cosima is sobbing because in the end, after crouching for half a day in the small shelter of that gravel bank, waiting for the mother coyote to come back and save her children, they had to leave them. He hears Hallie shrieking in the background. They're both crying as if they are drowning themselves. Drowning pups.
When he gets them home they sit hugging each other on the davenport, wrapped in the black-and-red crocheted afghan. They won't stop shaking. They want to know if the baby coyotes died. If animals go to heaven. He has no answers. "We tried to put them in the paper bag we used for the prickle pears, but it fell all apart." The tears stream out until the afghan is wet and he thinks there will be no more fluid in them to run the blood cells through their veins. He makes them drink orange juice. God, why does a mortal man have children? It is senseless to love anything this much.
COSIMA
4
Killing Chickens
Emelina's was a pleasant, ramshackle place with animals, an old plum orchard and five boys. When I walked up the drive with my suitcases they were preparing to kill roosters. Emelina's eyes and mouth drew wide and she looked briefly like a surprised fish. "Codi, this is Sunday, I thought you said tomorrow."
"No, it was today, I'm here," I said apologetically. I was glad I hadn't waited any longer at the courthouse.
"Shoot, you look like a fifty-dollar bill. Where'd you get that haircut, Paris, France?" She gave me a hug and waved her hand at the driveway. "I'm sorry about this mess. We've just got the water boiled for the birds. Shoot."
I'd just witnessed what I'd thought was going to be the slaughter of a peacock, so I laughed, but this time it was real murder and mayhem. The drive was lined with pails, paper bags, and a tragically stained wooden block that had been used before. Emelina's twins, who were about ten, each held a fat white rooster by the feet. A younger brother was riding a tricycle precariously over the rocky ground. I put down my suitcases.
"Curty and Glen, look at you," I said. "And Mason. You guys are getting too big."
"Aunt Codi, look. If you hold them upside down they go to sleep," Glen said.
Curty said, "No, they get hypnotized."
"Well, either way it's a handy trick," I said. "You don't want them to see what's coming."
Emelina looked dismayed. "Codi, we don't have to do this now. What a god-awful thing to do in front of company."
"I'm not company. You're all set up, so do it. You can't go out of your way for me if I'm going to live here."
She rolled her eyes. "Go on back to the granny house then. John Tucker was supposed to sweep it out this morning before he went to his baseball practice but I'll fall over dead if he did it right now, instead of feeding the baby. I'll bet you fifteen dollars he's laying in the house watching the MTV."
John Tucker was Emelina's oldest, but I couldn't picture him old enough to feed the baby. I hadn't yet seen the baby, since he'd only arrived six months ago. But over the years Emelina and I had kept up. I'd taped her kids' school pictures to the woodwork of Carlo's and my many ill-furnished apartments. Sometimes repairmen would ask if they were my boys.
I went around to the side yard and pushed open a wire gate that wouldn't have kept out a determined hen. The guesthouse in the back faced the big ranch house across a huge brick courtyard that was wild and overrun with flowering vines. Every inch of space was taken up with fruit trees, painted flowerpots, and lawn chairs that looked like they'd been there since the last war. I could hear chickens clucking softly somewhere out of sight, and at the back of the courtyard a goat stretched its neck to get at a fig tree.
The guesthouse had a pink door flanked by pots of geraniums, whose crimson flowers stood out against the white walls like wine stains blooming on a tablecloth. Inside, the little house was whitewashed and immaculate. There were two brick-floored rooms: a living room and bedroom. The light pouring in the windows was stirred up by the motion of fig branches outside. The bed had a carved headboard, painted with red enamel, and a soft-looking woven spread. It was a fairytale bed. I wished I could fall down and sleep a hundred years in this little house with pale crisscrossing shadows on the walls.
I heard the goat moving around outside, munching loudly and bumping against the wall. I opened cupboards. Everything was spotless. The east window in the living room looked straight out onto the granite wall of the canyon a few yards away, a startling lack of view. Emelina's place was the last and highest on her street, backed up against the canyon. The floorboards of her front porch were on a level with her neighbors' roofs.
I took my time exploring. I savored the first minutes in a new home. Carlo would always go straight to unpacking boxes, looking for the sheets and coffeepot and swearing that we were going to get better organized, while I stepped stealthily over the bare floors, peeking around corners and into alluring doors, which generally turned out to be the broom closet. But there was that thrilling sense that, like a new lover, the place held attributes I had yet to discover. My favorite book as a child was The Secret Garden. It's embarrassing to think I'd merrily relocated again and again, accompanying Carlo to the ends of the earth, because of the lure of a possible garret or secret closet. But it might be true.
I tried out the two very old chairs in the living room. They had rose slipcovers and were comfortable. In a corner near the window was a beehive fireplace, and next to it, a clay vase of peacock feathers. Every home in Grace had one of those; it was a local feature. You could pick up half a dozen peacock feathers on any given day, in the orchards, as you went about your business. When the vase was full, you took them to one of the old women who made real-feather pinatas, and then you started your collection over. The practice had not been allowed in our house because Doc Homer said the feathers were crawling with bird mites; he dreaded to think what those old women's houses were harboring in the way of microorganisms. It became Hallie's and my joke. Whenever he unreasonably forbade us to do something, we'd look at each other and mouth the words "bird mites."
The bathroom and kitchen must have been added on about mid-century. The refrigerator looked prehistoric, but worked. It contained a loaf of fresh bread in a paper bag, some tomatoes and figs, a block of goat cheese, and a six-pack of Miller Lite. Emelina's estimation of the bare essentials. I popped open a beer and went back around the house in time to witness the demise of the second rooster.
"Is it okay that there's a goat loose in the courtyard?" I asked Emelina.
"Shit! I'm going to tan John Tucker's hide. John Tucker!" she yelled. "Get your damn goat out of the garden, please, or we'll have him for dinner!"
There was a noise from inside and the back door slammed.
"You don't really want to watch this, Codi," she said. "But I gu
ess you see a lot worse in your line of work."
I sat on the porch rail. I was no longer in the doctoring line of work. It's true I'd been educated to within an inch of my life, and had done well in medical school. My mistake was assuming medicine was a science like any other. If it's carburetors you know, you can fix cars, I reasoned; if it's arteries and tendons you fix people. For reasons that were unclear to me, I'd learned the science but couldn't work the miracle: I'd had a crisis while trying to deliver a baby. My problem turned out to be irreversible. Emelina knew all this. I was here, after all, with no more mission in life than I'd been born with years ago. The only real difference between then and now was wardrobe.
"Tell me if I can help," I said.
She ignored me. "Okay, watch your hands, Curty. Keep them way back." Emelina was small, but didn't give that impression. Her jeans had "Little Cowboy" stitched on the label, and undoubtedly belonged to one of her sons. Emelina and I graduated from high school the same year, 1972. Under my picture in the yearbook it said, "Will Go Far," and under Emelina's it said, "Lucky in Love." You could accept this as either prophecy or a bad joke. I'd gone halfway around the world, and now lived three-quarters of a mile from the high school. Emelina had married Juan Teobaldo Domingos the same June we graduated. Now J.T. worked for the railroad and, as I understood it, was out of town most of the time. She said it didn't bother her. Maybe that's as lucky as love gets.
Curty laid his hypnotized rooster on the block and held its feet, keeping the rest of his body as far away as possible. It never regained consciousness. Emelina swung the axe over her shoulder and brought it down on the mark. The pink, muscular neck slipped out of the collar of feathers as if the two parts had been separately made. The boys hooted and chased after the body as it thrashed across the dirt. But I was fascinated by the head: the mouth opened and closed, silently, because the vocal cords were in the part that had been disconnected.
Animal Dreams: A Novel Page 2
