by Geoff Ryman
Oh God, I’m crying. Why am I crying for him? Poor Frank. Poor fat balding little boy, always hoping every time he shook a man’s hand that he had found it, love, a friend, something true out of a life of lies and horror. Poor Frank, trying hard to love me, not for my breasts or my body, but loving me for the pattern we made, the pattern I can’t escape, the pattern in the lights, the pattern in the song, the pattern in our three little girls, all of us singing in the magic circle of the lights. That was Heaven. If those Gates open, if I am forgiven, that is what I expect Heaven to be. The stage of the Valley Theater, with all of us together again, but in spirit, in the pattern. How could we lose so much? How could we fumble so badly? Maybe beyond the Gates, Baby, we’ll all be healed.
Ghosts, Baby. We’re ghosts, haunting each other now. We went back to Lancaster once, remember, back when you and I were still friends. I sat in the limousine, terrified, while you went to see that awful girl. I was terrified that if I got out, I’d stay. I’d find Frank still there, and the life of lies. I was frightened I’d see him walking down Cedar Street, and that he’d wave, poor ghost, not knowing he was dead, and that I was ten years older. That he’d go back to our house, and find someone else living there. Where are our babies? he’d ask. Did we fail, then? Did it happen in the end? And I would have to say, in a sour and weary voice, Yes, Frank, it happened again. What did you expect? It happened again, and it killed you.
So I sat huddled in that car, telling myself it was the heat that I was hiding from. But it was hotter inside the car than out. So I braved it. I got out and waited and wondered how long you would be. And then I went for a little walk.
And I felt it, a brush against my hand. And it was as if I had my Baby back, the little baby hidden away in that huge, bitter shell. And my Baby and I walked through those barren, flat, blistered streets as if the future had not come to destroy us. And I felt another hand, plump and soft and large and damp, and it was Frank. And Jinnie ran on ahead, Janie looked uncomfortable, and I knew we were still in Lancaster somewhere. Somewhere, maybe in the wind. The wind makes a noise in the tamarisk. In the dust.
You haven’t seen Muggsie since, and I’m not sure who you are married to now, except that I haven’t met him and never will. But somewhere I still love my Baby, and I have to hope that somewhere in the wilderness she still loves me. But I can’t touch the love, and I can’t find the truth. So I still have to go on.
Go on calling the truth the Devil that only comes in idleness.
Ethel Milne Gumm Gilmore looked at her watch.
Thump.
Thump.
Eight-fifteen. Now I’m late. Late for real. Oh, Ethel, sitting here like a lump when you should be moving.
Her body didn’t respond. It didn’t want to move. Come on, Ethel. There’s a time clock. You have to punch it to eat. You have to punch it and write on cards and file them and put papers away.
I don’t want to, her body replied. I want to go play piano. I want to sit here and look at the sky.
Like moving through mud, Ethel turned. She turned and fumbled with the door. Makeup, she remembered. I haven’t done my makeup. With terrible weariness, she looked at her face in the mirror. It was gray and covered with sweat and streaked with foundation that hadn’t been worked and smoothed. The foundation slipped, skidding across her face as she rubbed it. She smeared on some lipstick. Her lips were sweaty, as if she were melting. Getting up early doesn’t suit the old, she told herself.
Shortcut. Cut between the cars. The car door felt like slippery rubber in her hands. Her feet felt like the shoes were too big, with heels that were loose. I should have eaten something. I feel so hollow inside. Empty. Empty. A nothingness, waiting to suck me in.
She began to hurry. She needed to get inside the plant. There would be shade there, and chairs, and she could sit, and fan herself, get herself together, tell her boss she was sick. There was a first-aid room, a couch to rest on. She was hot though the air was cold. She stepped outside and vapor rose out of her, from her nostrils, from the back of her hands.
She steamed out into the California morning that was so bright, ablaze with light so that it burned her eyes; she felt dizzy; she couldn’t see. A shortcut, she told herself. A shortcut between the cars, the strangers’ cars, gray and blue and red, other people’s cars, not hers. All her life, living among people’s cars, driving along the Mint Canyon Highway.
Thump. As in a cyclone, breath was taken from her. She tried to breathe, pull in air, but it wouldn’t come. A fist seemed to have clenched her chest. It held her vengefully. Kneel, it said. Kneel before your God.
I don’t have one, she thought, her thoughts in a thin and pitiful voice. A blaze of light that meant nothing. I have no God, and I am forced to kneel to nothing. She was down on her knees between the strangers’ cars. Her arms were stretched apart, each hand clasping a door handle to keep from falling. All the big, washed cars were lined up in judgment, at the gates of McDonnell Douglas, the strange and unimagined ending place of her life. She knelt in the light and asked forgiveness, as we all must, for failing without knowing why, and for living so long without seeing so much. But kneeling in the light, settling through it, crucified between two door handles, it seemed to her that she was. Forgiven. Or rather, that there was nothing to forgive. Ethel Milne was borne away.
She did not know that her daughter had had a change of heart and was making plans with her lawyer to arrange financial support for her mother. The Gumm sisters came to the funeral and did not speak to each other. There was too much to say. For Frances it was one more tightening of the knot, one more loop in the tangle. One month later, in February 1953, the Valley Theater, Lancaster, was hollowed out by a fire, as if a revenging spirit had raged through its aisles. It was not rebuilt. It is now difficult, even with old maps, to reconstruct where it once stood.
Part Two
The Summer
Kitchen
Manhattan, Kansas
1881
…the men burning houses and barns and horses so that for ten years and more the countryside was an inferno of revenge, broken by a fifth season of arson. The tramps who packed guns and overran whole towns. The old men who went mad with jealousy. The old women who jumped down wells. All those mothers: the ones who carried their children into the rivers, the ones who fed them arsenic and strychnine so that, if they had to die, at least it wouldn’t be of epidemic disease…All the men who cleansed the putrescence of their lives with carbolic acid. All the others who killed themselves with the same insecticide they used on the potato bugs…
By the end of the nineteenth century, century towns had become charnel-houses and the counties that surrounded them had become places of dry bones. The land and its farms were filled with the guilty voices of women mourning for their children and the aimless mutterings of men asking about jobs. State, county, and local news consisted of stories of resignation, failure, suicide, madness and grotesque eccentricity. Between 1900 and 1920, 30 per cent of the people who lived on farms left the land…
The people who left the land came to the cities not to get jobs, but to be free from them, not to get work but to be entertained, not to be masters but to be charges. They followed yellow brick roads to emerald cities presided over by imaginary wizards who would permit them to live in happy adolescence for the rest of their lives…It is this adolescent city culture, created out of the desperate needs and fantasies of people fleeing from the traps and tragedies of late nineteenth century country life, that still inspires us seventy years later.
— MICHAEL LESY,
Wisconsin Death Trip
Kansas was a go-ahead place. It had been the first territory in the United States to propose votes for women—in 1859. It was to be the second state to grant them, nearly thirty years later.
Prohibition was a women’s crusade. Women couldn’t vote, but they organized and lobbied; and an amendment to the state constitution forbidding the sale and manufacture of intoxicants was passed by a narrow mar
gin in 1880. The state became dry, as far as could be managed with towns full of hot and sweaty men. The local newspapers ruefully reported that the most popular local song was “Little Brown Jug” and that kegs were seen going to private parties. Women raided pharmacies that were too free with their medicinal alcohol.
Manhattan was a center of progress in the go-ahead state. The town had its first telephone in 1877, wired up by Professor Kedrie of the State Agricultural College. Professor Mudge had died, and there was talk of erecting a statue to his memory. Barbed wire arrived, Devil’s grass. It finally put an end to the question of the herd laws by ripping the flesh of cattle that tried to wander into farmers’ fields. No less a personage than G. W. Higinbotham was severely wounded by barbed wire, which tore out a chunk of his chest.
In 1878, Manhattan built a fine new schoolhouse of stone. It towered above Poyntz Avenue, two stone floors with a stone tower. It had four main classrooms on each floor to accommodate the growing numbers of little scholars.
Aunty Em’s instinct was to send Dorothy to the new Manhattan school. But Aunty Em did not approve of the school’s Principal, Mr. J. McBride. It was a matter of public record, jovially reported in the local press, that he was fond of drink. He was succeeded by Professor Hungerford, but this was no improvement. Professor Hungerford was considered to be the local actor and singer. Aunty Em did not approve of actors. He had quite taken over her own Congregationalist church. In May of 1880, the church had staged an opera, The Cantata of Joseph, with full orchestra and sixty costumes. Professor Hungerford took the leading role. The Independent reviewed the production and called him, particularly, “brilliant.”
“Brilliant indeed, like his hair,” said Aunty Em quite mysteriously. “In time the people of Riley County will tire of all this old crony-ism.”
So Dorothy stayed for a while in Schoolhouse Number 43, called Sunflower School. She was quietly content there. This was not enough for either Aunty Em or the teacher of the school, Miss Ida Francis.
Ida Francis and Emma had become firm friends. Miss Francis was a regular caller to tea, which she drank sitting at the Gulches’ one rickety table, little finger outstretched as if the place were grand. She could pour her heart out to Emma Gulch.
“They have finally, finally repaired the stove,” Miss Francis said once, eating Aunty Em’s biliously colored cornbread. “The poor little scholars are not being introduced to smoking via the school chimney any longer.”
“We must be grateful for that,” said Aunty Em with a chuckle. “The next thing is to do something about the books.”
“I must say again, Mrs. Gulch, how grateful we are for your donation.”
“I do what I can,” said Aunty Em, smiling, with her eyes closed.
“Would that Squire Aiken took such an interest.”
Squire Aiken lived on the slopes of the hill south of the river, on the wooded side. He had peach orchards. His family had settled there from Kentucky. His family had been slave-staters.
“Are you surprised, with that background?” murmured Aunty Em, eyebrow raised.
“Hmmm,” said Miss Francis, without commitment. Aunty Em did not know that Miss Francis’s parents had favored the South.
“And how is my dear little charge progressing?” said Aunty Em, gazing on Dorothy with fondness.
It was the moment Dorothy dreaded. The bilious cornbread went round and round in her mouth. It was supposed to be a treat, to have tea with Miss Francis.
“Well,” said Miss Francis looking around, pressing down a smile. “Everything Dorothy does is as neat as wax.”
“You should see her at her chores,” said Aunty Em, nodding.
“All her work is quite brilliantly presented,” said Miss Francis, “but it must be said that the content of her figure work and ciphering is not what it should be.”
“Dorothy, are you paying mind to your teacher?”
“Yes, Mmm,” whispered Dorothy.
“Speak up, Dorothy,” said Aunty Em. “Sit up straight, and pay Miss Francis the compliment of your regard.” She turned back to her ally.
“Dorothy is always beautifully behaved, a very model in all respects,” said Miss Francis, still smiling at Dorothy. “Except one. She is still stone silent. She does not put herself forward. Nor does she appear to fraternize with the other children.”
“Even now,” sighed Aunty Em, looking at the table in sadness and concern. “It is the tragedy, hanging over her.”
Dorothy was so weary of being reminded of her tragedy. She did not remember it. It was a universe ago. She did not remember the old house, she sometimes forgot she had once had a little brother, and her mother was the flattest and dimmest of memories. She had long ago given up dreaming that her father might come for her one day and take her away. Her father didn’t know or care. It came as something of a surprise to remember that he was still alive, Dorothy had grown so used to telling everyone that he was dead. The tragedy, as Aunty Em called it, seemed to have nothing to do with her.
“Perhaps also,” said Aunty Em, “it is that the other children do not wish to mix with her.”
Aunty Em was coming to blame the rough local children of Zeandale. They ran barefoot in the dust and stole fruit from orchards and raided wildlife by the river. All sorts of mischief, while her Dorothy sat at home and polished and sewed and scrubbed and grew beautifully less.
Then Professor Hungerford left teaching to take advantage of all his many connections. He opened a business, offering abstraction and insurance. Aunty Em’s loyalty to Miss Francis persisted for two years. Dorothy sat in the kitchen silent and still, sinking even deeper into a scholastic quagmire. Aunty Em felt compelled to ask Miss Francis to dinner.
Aunty Em told Miss Francis that something had to be done about Dorothy before it was too late. It was no reflection whatsoever on Miss Francis’s program, but it was time that the child was given a different and more varied setting. With Professor Lantz now in charge, and Mrs. DeEtta Warren as his assistant, Aunty Em now had renewed confidence in Manhattan education. Miss Francis could do nothing but concur and skillfully manage to disguise a measure of relief.
So, though Zeandale now had a stone schoolhouse as well, Emma Gulch sent her quiet little mouse of a ward all the way to Manhattan rather than have her educated in the country. This was considered by the other farmers to be of a piece with the rest of her behavior.
It fell to Henry Gulch to take her in. All through the autumn of 1881, he and Dorothy would be up with the dawn. Through the long gentle ride to Manhattan, they would see the sun rise on the fields and in forest. They would see the birds, though Uncle Henry would not insist on Dorothy naming them. He would let the birds be themselves. He let Dorothy be as quiet as she wanted to be, finally resting from work, her books in a bundle in the back, out of her arms. Often she fell asleep, leaning against him, listening to the plod of the horse’s hooves in the dust.
Aunty Em was running the farm now, and running it well. It was prospering, and they did have hogs and they did have horses. There were plans to finally build an extension. Nothing grand, just a summer kitchen for Aunty Em to cook in during hot weather so that the single room in which they slept and ate would stay cool.
Winter came and was a bad one. Dorothy and Uncle Henry shared the same lap robes and jostled their feet on the hot stones taken out of the oven. They huddled together, and he tickled her. Uncle Henry tickled Dorothy and started to laugh, with broken teeth.
One night, in the middle of that winter, Dorothy started to bleed. She woke all wet and sticky down there. Something dreadful had happened. There would be blood on her nightdress, blood on her sheets. Bad blood, it was as if her bad blood were leaking out of her. Had she done anything unwittingly down there to cut herself? How could she explain to Aunty Em that she was bleeding down there for no reason?
It would require desperate action. She would have to say she had cut her hands. That would explain the blood on the sheets, perhaps, but not the blood on her nightdr
ess. It was wet around her middle, there was no saying that was from her hand. Dorothy, who was always neat and tidy, who hated to see anything flow, was appalled at the mess she felt all around her.
She would have to burn the nightdress.
Very slowly she slipped out from under the blankets. The mattress rustled. She stood up, already in an agony of chill, but she could not put on her shoes for they would clump on the floor. She had to slip the nightdress off, over her head like a whisper. She nipped around the blanket that hung from the walls to divide the room and padded across the kitchen floor.
Dorothy knelt and lifted up and opened the door of the stove and threw the nightdress in, over the black and orange embers. She could see the steam of her breath in the faint light. Her bare legs rose up in goosebumps and her teeth began to rattle against each other.
“What are you doing?” demanded Aunty Em. Dorothy spun away and pushed the hot iron door shut with her hand. Had Aunty Em seen her, crouching naked in the light? Had she seen what she had done? Dorothy’s throat went tight with terror and cold. She could hardly breathe. She couldn’t talk.
“She’s just feeding the stove, Em,” said Uncle Henry. “She just wants to keep us warm.”
“Well, be careful with the fuel,” said Em. There was the sound of settling down under the bedclothes. Dorothy leapt into her bed, shaking for warmth and other kinds of shelter. How would she get up in the morning without being seen? What if the nightdress did not burn? What if it was found in the morning, laying cold on top of the coals? And what, what if she hadn’t stopped bleeding? What if she bled to death? Dorothy began to weep, curling her lips inward and pressing them shut so no sound would escape. Her hand. She would have to cut her hand. Dorothy cursed herself for forgetting to bring back a kitchen knife. But how would she explain the cut of a knife in the middle of the night? What was she to do?
