THE WORLD WITHOUT US
MIREILLE JUCHAU
For Roger and Guy
The murmuring of Bees, has ceased
But murmuring of some
Posterior, prophetic,
Has simultaneous come.
Emily Dickinson
If you would fain not meet with
Torment – neighbour, sleep!
Marina Tsvetaeva
Contents
One
1
2
3
4
5
6
7
8
9
10
11
12
Two
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
Three
1
2
3
4
5
6
7
8
9
10
11
Four
1
2
3
4
5
Acknowledgements
Credits
A Note on the Author
By the Same Author
One
For indeed the ascetic workers, her daughters, regard the queen above all as the organ of love, indispensable, certainly, and sacred, but in herself somewhat unconscious …
Maurice Maeterlinck
1
He’d been climbing for three hours when he saw the odd colour through the tawny trees. In a clearing by the Repentance River, a pale column. As he drew closer he realised it was a woman. She was barefoot and partly clothed, her head skewed back, eyes on the sky. Evangeline Müller, his neighbour from that large wooden house on Fox’s Lane.
As he entered the glade, his heavy boots shattered sticks and dry leaves and he thought he ought to exaggerate these noises or call out – she was still undressing. He’d have quite liked to linger, just watching. But that would be creepy, he chided himself, don’t be a creep. And then she turned, her chest completely bare, and, without flinching, caught his eye.
It’s you, she said.
Her tone was dull, as if she’d been expecting him, or maybe someone else. Or perhaps it was simply relief in her voice. She shifted a hip to one side, folded one arm across her body. It was then he noticed the waxy scars, roping her chest and back.
Jim Parker, he said, offering a stupidly distant hand. I walk up here most Sundays. And you’re … ?
… Going in, she said as she tossed her shirt to the ground.
Jim, not trusting his eyes to stay on her face, glanced instead at the river. He’d spent his adulthood trying to be decent; it was in his raising, it was in his mother’s quiet asides, which after her death had gained the solemnity of commandments. James, don’t ever be that kind of guy, she’d say after some encounter with some male, and he’d wonder what had offended her, which leery word, which gesture. Lately, though, he’d been letting this credo slide – it might not have sprung from himself after all, though he could not say what other substance he was made of.
There was no towel near the woman, he noticed, just the small mound of clothes to which she was adding her skirt. A strange place to swim. The river was broad here, then narrowed sharply as it flowed towards the cliff. You could hear the cascades, a two-hundred-metre drop said his map; you could feel the earth’s tremor from the force of that falling current. Upstream there were more tranquil, sunnier swimming holes. And she surely knew those – she’d spent her childhood at the nearby commune. Jim had wandered through its gutted remains: the burned husk of a hexagonal hall, the charred footings of the former cabins.
After just three months in Bidgalong Valley he’d come to know the Ghost Mountains well, following trails on a map bought at the town market. As he walked he realised the fey place names – Rainbow Hill, Naiad Gorge, Moonbeam Falls – had replaced all the indigenous names, and were absurd. This morning he’d set out early, following the river to a tapered ridge, pausing at a creek to scoop and gulp water, glorying in the wild-man spectacle of his thirst. He could pretend, in the surround sound of wind, water, leaf and bird, that the forest was pristine, that he was born to it and belonged.
Evangeline was still undressing, unperturbed. Jim, ignorant of what to do with hands, eyes, unruly thoughts, crossed to the embankment, then stuck a hand in.
Wow, that is cold, he said, as if he hadn’t already felt that water, minutes back, down his throat.
He scanned the river, guessing the distance from here to the falls, the depth and speed of the flow, assuming the guise of another, less febrile man, the sort to coolly gauge and secure things – risks, locks, errant nails, threats, trip hazards – the dependable, sexless dad of the hardware store and the back shed of widgets, to tamp down his desire.
Now the water was strung with reflected clouds, and the canopy, backlit, was dark as the earth. This world, two hundred and fifty above sea-level, inverted. The river, beyond his reckoning. It seemed as cryptic as the woman readying herself to swim in it.
He shook out his hand. Then wrung his shirtsleeve and watched the drips hover in the green air. In the valley you’d hardly know it was winter; in the valley, the unceasing treacly sun.
When he turned back she was just about naked – a habit maybe from her commune days and her unself-consciousness persuaded him: he was surely guilty of something. After all they were practically strangers – he’d only seen her a few times before – at the market where the family ran their honey stall, and late one afternoon at the River School when she’d come to collect her youngest’s things. Jim watched from the office as she crossed the playground. She was arresting – stately maybe was what you’d call her, with blue-hued skin and large grey eyes. She had the long-skirted sandalled look of other hippies around town, but had made this uniform hers, the tuck of her shirt, the way her sleeves were rolled, the hair somehow both secured and falling down. She wore no make-up and he fancied he could see grief’s traces in the dull rings beneath her eyes. In one hand, an umbrella, despite the dry weather. She folded it slowly before coming in. She’s taken her time, said the office secretary. It had been nearly two years since the funeral and the girl’s belongings were gaffered up in the storeroom. The eldest – Tess – was in Jim’s class and yet to speak a word. From the glassed-in office, Jim watched the woman lean, shuck off a shoe and edge a foot up the wall behind her. She remained there, stork-like, for some minutes. Poor soul, said Jane Bond, stapling worksheets. But Jim had felt no pity watching Mrs Müller; her left leg bared to the knee, he’d had other feelings entirely.
She was bending over her clothes now, wearing nothing but plain cotton knickers. Sylvie wore this kind of thing on weekends. But Jim didn’t want to think of her and weekly texts. Or the postcards featuring the Sydney hotels they’d stolen into last summer, where they’d fucked by the rooftop pools. Sylvie had tried guessing – which hotel had they conceived at? The Radisson or Hilton? The Park Suites or The Quays? But Jim, newly ordained a father, had not been able to think of anything but her cells dividing, her augmenting blood. And now felt guilty – he’d deleted her texts, he hadn’t phoned her since moving away – and as he looked fully at the body of this woman stepping into the Repentance River, his mind turned soupy, then entirely blank.
Evangeline stood naked, arms out and teetering. Even
sunk to the ankles in river mud she was imperial. He knew the rumours, which Ms Bond had glossed between each staple crunch. How she was seen very rarely in town, and always below that umbrella, in cloudy or clear weather. How she’d been spied walking back roads with an empty pram, intent on something, but never, he got the sense from the staffroom chorus, doing what she ought.
And here she is, breaking his morning’s samādhi, his wilderness vipassana, the goals he’d set since arriving. Here she is fucking with his silent walking attempt to come out of suffering, out of mental impurity, his quest for non-delusion. He’d been on his way, hadn’t he, ticking off the precepts – no killing, stealing, sex, false speaking, intoxicants. He was advancing, with some exceptions, and after fasting and celibacy had even reached step 8: to abstain from using high or luxurious beds. He ticked that off grandiosely, without protest, or even laughter.
But what’s he thinking now, unlacing his boots and saying, Perhaps I should – ah?
She hesitates in the knee-high, hectic water. Then a new sound makes him straighten. Not far off, a labouring grunt, a threshing, as if something’s being dragged through the scrub.
They wait and listen, tuning in together.
He checks her face, then tugs off his right boot, unpeels a sock. Her body, waist deep, is mirrored, and her long twin, conjoined at the hip, undulates on the water. Then she slides completely under and for minutes, she is gone. Fifty metres upstream, her arms slicing very precisely through the current.
Jim piles his things beside hers then – right away – regret. His lifeless clothes, her underwear, adjacent, incriminate him, and his empty boots, just ahead, seem a kind of manifestation. Their toes are angled away from the water, as if to say, abandon.
He stands, shivering in an old pair of boxers. Tall, broad-chested, hunched over his own flesh. He’d prefer to just forget his body, and its limited power over others. Swimming’s the last thing he feels like, but he can’t just leave her alone in there. That wouldn’t be chivalrous, considering the falls. And again, that sound, drawing closer, though nothing can be seen through the leaning bloodwoods – no animal with prey, no human.
She seems to be treading water, paused – or waiting. Her face with the hair slicked off, more vulnerable. Then, as he nears the riverbank, Jim notices, a short distance from where she’s left her things, a hammer and some rope.
2
Tess sees the bare feet first, whizzing through the air. Then the chopstick shins and saggy knickers, the vulnerable dip where the spine meets elastic. It’s her sister Meg, practising handstands and cartwheels outside their mother’s studio.
Tess strides through the brassy winter light. Tall and loose-limbed with dark snaggy hair and a wide red mouth. She’s thirteen, in a frayed skirt and singlet with Band-Aids on both knees. She’s nearly always hungry but can’t say what for; a feeling no amount of bread or milk can dampen, a gnawing that swells or fades in the presence of her mother.
She scans the undulating paddocks, the busted fences of the family’s farm. It’s eleven o’clock. Where is she? Her mother gone since early light. Far off, her father passing the white huts, smoke uncoiling above his head. Behind him there are new bald stripes on the Ghost Mountains and matchstick piles of freshly felled trees. Squint and you can pretend he’s an astronaut – in his boots and white zip-up suit, his folding veil and helmet. Tess watches him high-stepping over a field as pitted and dusty as the moon.
Meg springs back to earth, her hands in the air, her bum jutted like those gym-obsessed girls at Fernery Sports and Rec. Her face, right way up, is flushed pink. She pulls out her inhaler and sucks on it, eyes briefly flashing.
Despite that breathlessness Meg is all grace. At least that’s how their mother described her, years back, in the studio. Tess was sprawled in the wingback chair, watching her mother brush alizarin onto canvas. Propped around the room were the newest paintings with their heavy oils and their single, repeated subject. Always horses. Always hills, and two distant, watchful figures. Her mother had paused with her brush held out as Meg passed. Look at that, she’d said quietly, as if to herself, all grace. And Tess, turning to watch her sister, thought, OK, but what am I? Before she could ask, her mother was back to painting, her arm arcing so swiftly through the air that Tess decided what she’d really meant was, Meg is just like me.
Both Meg and her mother are fair-skinned with smoky blonde hair. Tess’s hair is dull and unruly, the colour of pitch, and her limbs tan fast in early summer, her face dusted year round with freckles. Tess is straight as a ruler from chest to hip so her jeans always need hitching. Her small breasts have nipples that seem, wrongly, to point in opposite directions, breasts that throb with such raw pain she wonders if to develop is to be permanently injured. She binds them in crop-tops nicked from Big W.
The sisters’ arms, side by side at the table, catch Tess’s eye but no one else seems to notice how much like piano keys they are, the dark and the pale, one more plaintive, one calmer, fuller. Pip, the youngest of the sisters, had been – well – Pip had just been Pip, her green eyes growing as the rest of her faded. Her illness had left her less recognisably theirs, but also made her belong more fiercely.
Where are you going? Meg asks, slapping dust from her palms and twisting her clothes into place. The skater skirt that used to be Tess’s, the unicorn T-shirt that Pip once coveted.
Dad said stay by the house till Mum comes back, says Meg. Then flexes a leg in the air, does the pinch-test on a fatless midriff.
Tess throws up her hands, questioning, jabs her watch theatrically. A purple slap-band Lorus, recently stolen.
How would I know? says Meg, narrowing her eyes. She wasn’t even here when I got up!
She was not in the laundry, not out back, nor in the studio, which hadn’t been used for years. Only the shadows on the walls from where their mother’s canvases had hung. In one corner, a stack of old paintings, covered in sheets. But now, as Tess reconnoitres the studio, she notices a gleam in a corner, wet paint on a new palette. She sees what’s gone missing – the pram.
Both Meg and Pip had had their time in that Peg Perego. But Tess was mostly carried in slings, their mother said. The pram came into its own after Meg’s high-forceps birth, when schlepping a baby got hard. Even picking you up would make me wee, she told Meg, when I wasn’t planning. Something about a pelvic floor. The girls had loved hearing about it – uncomprehending, irresistibly horrified. What happened to mothers, after all, might happen to them as well. Blood, babies, some parts of you giving way, like a house with bad foundations.
After Pip the pram became a trolley, wheeled by their mother through fields at dawn. It was packed with paint, solvent and palettes, with sketchbooks and canvases and a waterproof cover so it could stay out in all weather, night and day. Whenever Tess saw it, parked alone in the cow paddock, her heart raced till she remembered – no baby in there, just tubes of oils leaking on to the patterned lining. It was fascinating, said the parent community, to be the child of a painter, but then came the difficult questions about when the work would be exhibited.
The girls ought to be used to their mother going off. But the missing pram’s important. And if she’s painting again? Could mean anything. Tess doesn’t know if she preferred it when, for a year after Pip’s death, her mother barely left the house.
So – how about town? asks Meg as Tess returns from the studio.
On the back porch, their mother’s black umbrella hangs like a sleeping bat. She wouldn’t go without it.
And what would she do in town for that long? She wasn’t the sort of mum who went for coffee and she did not attend the many studios, the preferred term for local businesses. She didn’t practise any of the ten types of yoga, t’ai chi or Pilates. She wasn’t a mother who had things done to her like nails or hair, Bowen or tarot. She hated shopping, and when she visited the library she raced home to tuck herself in with the hardbacks. She liked mysteries in blizzard lands, books with snow and ice on their covers, a
nd would turn first to their final pages. In these stories, she told the girls, each of the disappeared had their faithful, dogged searcher. In these the lost were usually found, even if they had but one breath left in their body. Beside her bed, the dictionary, for what she called the stumble words. The way she read, with one finger dragging the page, caused the girls to look away.
Tess considers the missing pram. What it could mean. Then she plucks something from the dirt. Another single butterfly wing. Brown and orange ovals with a sham black eye. What’s happening to these insects? Can a one-winged butterfly still fly? Perhaps a sign, like those Tom Tucker lists in his weekly Survival Report. Once, Tess might have collected these wings for Pip. On the nature table in their bedroom are egg cartons full of botanical treasures: seed pods, dragonfly wings, lizard tails, bunya nuts and old olive pits gnawed on for hours by Meg.
How long are you going to keep this up? asks Meg. You can’t be silent for ever! You’ll burst.
Tess shrugs, drunk with power, gives herself an imaginary star; then, seeing her sister’s puckered face, grants herself another. Six months now without a word. The longer she lasts, the more she understands about silence. It isn’t like withholding other things – breath or food. Who can it injure? Though lately she’s realised how dependent she is on others to keep it a living, working thing. She hadn’t planned that. On your own you’re just yourself, unspeaking.
She launches into a handstand, feet pedalling, legs scissoring, skirt slipping over her head. Then blinks at a newly pixilated world. Upright, she bats at her face – glasses? – grubs blindly along the ground till she finds them.
When her sight’s restored she sees Meg staring, open-mouthed, one finger wagging at Tess’s thigh.
Blood, she’s saying. Down there.
Later, in the musty privacy of the honey shed, Tess holds her breath, crosses her legs, then bows to take a look.
Jesus, she says under her breath, thinking hard about what she’d been told, in some class, by some teacher, in that clip sponsored by Johnson & Johnson where a girl marked a wall calendar in emergency-coloured calligraphy. An awful worry had tolled whenever Tess thought of it, even though some girls said the trick about your period was being confident and others said they were like so totally ready for the challenge. Prime numbers were also a challenge – and comprehension – but these could eventually be mastered.
The World Without Us Page 1
