by Unknown
I heard this story in the old St. Joseph's Hospital in Victoria from Charlotte, who was the sort of friend I had in my early days there. My friendships then seemed both intimate and uncertain. I never knew why people told me things, or what they meant me to believe.
I had come to the hospital with flowers and chocolates.
Charlotte lifted her head, with its clipped and feathery white hair, toward the roses. "Bah!" she said. "They have no smell!
Not to me, anyway. They are beautiful, of course.
"You must eat the chocolates yourself," she said. "Every-The Albanian Virgin
thing tastes like tar to me. I don't know how I know what tar tastes like, but this is what I think."
She was feverish. Her hand, when I held it, felt hot and puffy. Her hair had all been cut off, and this made her look as if she had actually lost flesh around her face and neck. The part of her under the hospital covers seemed as extensive and lumpy as ever.
"But you must not think I am ungrateful," she said. "Sit down. Bring that chair from over there—she doesn't need it."
There were two other women in the room. One was just a thatch of yellow-gray hair on the pillow, and the other was tied into a chair, wriggling and grunting.
"This is a terrible place," said Charlotte. "But we must just try our best to put up with it. I am so glad to see you. That one over there yells all night long," she said, nodding toward the window bed. "We must thank Christ she's asleep now. I don't get a wink of sleep, but I have been putting the time to very good use. What do you think I've been doing? I've been making up a story, for a movie! I have it all in my head and I want you to hear it. You will be able to judge if it will make a good movie. I think it will. I would like Jennifer Jones to act in it. I don't know, though. She does not seem to have the same spirit anymore. She married that mogul.
"Listen," she said. "(Oh, could you haul that pillow up more, behind my head?) It takes place in Albania, in northern Albania, which is called Maltsia e madhe, in the nineteen-twenties, when things were very primitive. It is about a young woman travelling alone. Lottar is her name in the story."
I sat and listened. Charlotte would lean forward, even rock a little on her hard bed, stressing some point for me. Her puffy hands flew up and down, her blue eyes widened com-mandingly, and then from time to time she sank back onto the pillows, and she shut her eyes to get the story in focus again.
Ah, yes, she said. Yes, yes. And she continued.
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"Yes, yes," she said at last. "I know how it goes on, but that is enough for now. You will have to come back. Tomorrow. Will you come back?"
I said, yes, tomorrow, and she appeared to have fallen asleep without hearing me.
The kula was a great, rough stone house with a stable below and the living quarters above. A veranda ran all the way around, and there would always be an old woman sitting there, with a bobbin contraption that flew like a bird from one hand to the other and left a trail of shiny black braid, mile after mile of black braid, which was the adornment of all the men's trousers. Other women worked at the looms or sewed together the leather sandals. Nobody sat there knitting, because nobody would think to sit down to knit. Knitting was what they did while they trotted back and forth to the spring with their water barrels strapped to their backs, or took the path to the fields or to the beech wood, where they collected the fallen branches.
They knitted stockings—black and white, red and white, with zigzag patterns like lightning strokes. Women's hands must never be idle. Before dawn they pounded the bread dough in its blackened wooden trough, shaped it into loaves on the backs of shovels, and baked it on the hearth. (It was corn bread, un-leavened and eaten hot, which would swell up like a puffball in your stomach.) Then they had to sweep out the kula and dump the dirty ferns and pile up armloads of fresh ferns for the next night's sleep. This was often one of Lottar's jobs, since she was so unskilled at everything else. Little girls stirred the yogurt so that lumps would not form as it soured. Older girls might butcher a kid and sew up its stomach, which they had stuffed with wild garlic and sage and apples. Or they would go together, girls and women, all ages, to wash the men's white head scarves in the cold little river nearby, whose waters were clear The Albanian Virgin
as glass. They tended the tobacco crop and hung the ripe leaves to dry in the darkened shed. They hoed the corn and cucumbers, milked the ewes.
The women looked stern but they were not so, really. They were only preoccupied, and proud of themselves, and eager for competition. Who could carry the heaviest load of wood, knit the fastest, hoe the most rows of cornstalks? Tima, who had looked after Lottar when she was sick, was the most spec-tacular worker of all. She would run up the slope to the kula with a load of wood bound to her back that looked ten times as big as herself. She would leap from rock to rock in the river and pound the scarves as if they were the bodies of enemies. "Oh, Tima, Tima!" the other women cried out in ironic admiration, and "Oh, Lottar, Lottar!" in nearly the same tones, when Lottar, at the other end of a scale of useful-ness, let the clothes drift away downstream. Sometimes they whacked Lottar with a stick, as they would a donkey, but this had more exasperation in it than cruelty. Sometimes the young ones would say, "Talk your talk!" and for their entertainment she would speak English. They wrinkled up their faces and spat, at such peculiar sounds. She tried to teach them words—
"hand," "nose," and so on. But these seemed to them jokes, and they would repeat them to each other and fall about laughing.
Women were with women and men were with men, except at times in the night (women teased about such times were full of shame and denial, and sometimes there would be a slapping) and at meals, when the women served the men their food.
What the men did all day was none of women's business. Men made their ammunition, and gave a lot of care to their guns, which were in some cases very beautiful, decorated with engraved silver. They also dynamited rocks to clear the road, and were responsible for the horses. Wherever they were, there was a lot of laughing, and sometimes singing and firing off of 89
blanks. While they were at home they seemed to be on holiday, and then some of them would have to ride off on an expedition of punishment, or to attend a council called to put an end to some particular bout of killing. None of the women believed it would work—they laughed and said that it would only mean twenty more shot. When a young man was going off on his first killing, the women made a great fuss over his clothes and his haircut, to encourage him. If he didn't succeed, no woman would marry him—a woman of any worth would be ashamed to marry a man who had not killed—and everyone was anxious to have new brides in the house, to help with the work.
One night, when Lottar served one man his food—a guest; there were always guests invited for meals around the low table, the sofra—she noticed what small hands he had, and hairless wrists. Yet he was not young, he was not a boy. A wrinkled, leathery face, without a mustache. She listened for his voice in the talk, and it seemed to her hoarse but woman-ish. But he smoked, he ate with the men, he carried a gun.
"Is that a man?" Lottar said to the woman serving with her.
The woman shook her head, not willing to speak where the men might hear them. But the young girls who overheard the question were not so careful. "Is that a man? Is that a man?"
they mimicked Lottar. "Oh, Lottar, you are so stupid! Don't you know when you see a Virgin?"
So she did not ask them anything else. But the next time she saw the Franciscan, she ran after him to ask him her question. What is a Virgin? She had to run after him, because he did not stop and talk to her now as he had when she was sick in the little hut. She was always working when he came to the kula, and he could not spend much time with the women anyway—he sat with the men. She ran after him when she saw him leaving, striding down the path among the sumac trees, heading for the bare wooden church and the lean-to church house, where he lived.
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He said it was a woman,
but a woman who had become like a man. She did not want to marry, and she took an oath in front of witnesses that she never would, and then she put on men's clothes and had her own gun, and her horse if she could afford one, and she lived as she liked. Usually she was poor, she had no woman to work for her. But nobody troubled her, and she could eat at the sofra with the men.
Lottar no longer spoke to the priest about going to Skodra.
She understood now that it must be a long way away. Sometimes she asked if he had heard anything, if anybody was looking for her, and he would say, sternly, no one. When she thought of how she had been during those first weeks—giving orders, speaking English without embarrassment, sure that her special case merited attention—she was ashamed at how little she had understood. And the longer she stayed at the kula, the better she spoke the language and became accustomed to the work, the stranger was the thought of leaving. Someday she must go, but how could it be now? How could she leave in the middle of the tobacco-picking or the sumac harvest, or during the preparations for the feast of the Translation of St.
Nicholas?
In the tobacco fields they took off their jerkins and blouses and worked half naked in the sun, hidden between the rows of tall plants. The tobacco juice was black and sticky, like molasses, and it ran down their arms and was smeared over their breasts. At dusk they went down to the river and scrubbed themselves clean. They splashed in the cold water, girls and big, broad women together. They tried to push each other off balance, and Lottar heard her name cried then, in warning and triumph, without contempt, like any other name: "Lottar, watch out! Lottar!"
They told her things. They told her that children died here because of the Striga. Even grown-up people shrivel and die sometimes, when the Striga has put her spell on them. The 91
Striga looks like a normal woman, so you do not know who she is. She sucks blood. To catch her, you must lay a cross on the threshold of the church on Easter Sunday when everybody is inside. Then the woman who is the Striga cannot come out.
Or you can follow the woman you suspect, and you may see her vomit up the blood. If you can manage to scrape up some of this blood on a silver coin, and carry that coin with you, no Striga can touch you, ever.
Hair cut at the time of the full moon will turn white.
If you have pains in your limbs, cut some hair from your head and your armpits and burn it—then the pains will go away.
The oras are the devils that come out at night and flash false lights to bewilder travellers. You must crouch down and cover your head, else they will lead you over a cliff. Also they will catch the horses and ride them to death.
The tobacco had been harvested, the sheep brought down from the slopes, animals and humans shut up in the kula through the weeks of snow and cold rain, and one day, in the early warmth of the spring sun, the women brought Lottar to a chair on the veranda. There, with great ceremony and delight, they shaved off the hair above her forehead. Then they combed some black, bubbling dye through the hair that remained. The dye was greasy—the hair became so stiff that they could shape it into wings and buns as firm as blood puddings. Everybody thronged about, criticizing and admiring.
They put flour on her face and dressed her up in clothes they had pulled out of one of the great carved chests. What for, she asked, as she found herself disappearing into a white blouse with gold embroidery, a red bodice with fringed epaulets, a sash of striped silk a yard wide and a dozen yards long, a black-and-red wool skirt, with chain after chain of false gold The Albanian Virgin
being thrown over her hair and around her neck. For beauty, they said. And they said when they had finished, "See! She is beautiful!" Those who said it seemed triumphant, challenging others who must have doubted that the transformation could be made. They squeezed the muscles in her arms, which she had got from hoeing and wood-carrying, and patted her broad, floured forehead. Then they shrieked, because they had forgotten a very important thing—the black paint that joins the eyebrows in a single line over the nose.
"The priest is coming!" shouted one of the girls, who must have been placed as a lookout, and the woman who was painting the black line said, "Ha, he will not stop it!" But the others drew aside.
The Franciscan shot off a couple of blanks, as he always did to announce his arrival, and the men of the house fired off blanks also, to welcome him. But he did not stay with the men this time. He climbed at once to the veranda, calling, "Shame!
Shame! Shame on you all! Shame!
"I know what you have dyed her hair for," he said to the women. "I know why you have put bride's clothes on her. All for a pig of a Muslim!
"You! You sitting there in your paint," he said to Lottar.
"Don't you know what it is for? Don't you know they have sold you to a Muslim? He is coming from Vuthaj. He will be here by dark!"
"So what of it?" said one of the women boldly. "All they could get for her was three napoleons. She has to marry somebody."
The Franciscan told her to hold her tongue. "Is this what you want?" he said to Lottar. "To marry an infidel and go to live with him in Vuthaj?"
Lottar said no. She felt as if she could hardly move or open her mouth, under the weight of her greased hair and her fin-ery. Under this weight she struggled as you do to rouse your-93
self to a danger, out of sleep. The idea of marrying the Muslim was still too distant to be the danger—what she understood was that she would be separated from the priest, and would never be able to claim an explanation from him again.
"Did you know you were being married?" he asked her. "Is it something you want, to be married?"
No, she said. No. And the Franciscan clapped his hands.
"Take off that gold trash!" he said. "Take those clothes off her! I am going to make her a Virgin!
"If you become a Virgin, it will be all right," he said to her.
"The Muslim will not have to shoot anybody. But you must swear you will never go with a man. You must swear in front of witnesses. Per quri e per kruch. By the stone and by the Cross. Do you understand that? I am not going to let them marry you to a Muslim, but I do not want more shooting to start on this land."
It was one of the things the Franciscan tried so hard to prevent—the selling of women to Muslim men. It put him into a frenzy, that their religion could be so easily set aside.
They sold girls like Lottar, who would bring no price anywhere else, and widows who had borne only girls.
Slowly and sulkily the women removed all the rich clothes.
They brought out men's trousers, worn and with no braid, and a shirt and head scarf. Lottar put them on. One woman with an ugly pair of shears chopped off most of what remained of Lottar's hair, which was difficult to cut because of the dressing.
"Tomorrow you would have been a bride," they said to her. Some of them seemed mournful, some contemptuous.
"Now you will never have a son."
The little girls snatched up the hair that had been cut off and struck it on their heads, arranging various knots and fringes.
Lottar swore her oath in front of twelve witnesses. They The Albanian Virgin
were, of course, all men, and looked as sullen as the women about the turn things had taken. She never saw the Muslim.
The Franciscan berated the men and said that if this sort of thing did not stop he would close up the churchyard and make them bury their dead in unholy ground. Lottar sat at a distance from them all, in her unaccustomed clothes. It was strange and unpleasant to be idle. When the Franciscan had finished his harangue, he came over and stood looking down at her. He was breathing hard because of his rage, or the exertions of the lecture.
"Well, then," he said. "Well." He reached into some inner fold of his clothing and brought out a cigarette and gave it to her. It smelled of his skin.
A nurse brought in Charlotte's supper, a light meal of soup and canned peaches. Charlotte took the cover off the soup, smelled it, and turned her head away. "Go away, don't look at this slop," she sai
d. "Come back tomorrow—you know it's not finished yet."
The nurse walked with me to the door, and once we were in the corridor she said, "It's always the ones with the least at home who turn the most critical. She's not the easiest in the world, but you can't help kind of admiring her. You're not related, are you?"
Oh, no, I said. No.
"When she came in it was amazing. We were taking her things off and somebody said, oh, what lovely bracelets, and right away she wanted to sell them! Her husband is something else. Do you know him? They are really quite the characters."
Charlotte's husband, Gjurdhi, had come to my bookstore by himself one cold morning less than a week earlier. He was pulling a wagon full of books, which he had wrapped up in a blanket. He had tried to sell me some books once before, in 9*
their apartment, and I thought perhaps these were the same ones. I had been confused then, but now that I was on my own ground I was able to be more forceful. I said no, I did not handle secondhand books, I was not interested. Gjurdhi nodded brusquely, as if I had not needed to tell him this and it was of no importance to our conversation. He continued to pick up the books one by one, urging me to run my hands over the bindings, insisting that I note the beauty of the illustrations and be impressed by the dates of publication. I had to repeat my refusal over and over again, and I heard myself begin to attach some apologies to it, quite against my own will.
He chose to understand each rejection as applying to an indi-vidual book and would simply fetch out another, saying vehe-mently, "This, too! This is very beautiful. You will notice.
And it is very old. Look what a beautiful old book!"
They were travel books, some of them, from the turn of the century. Not so very old, and not so beautiful, either, with their dim, grainy photographs. A Trek Through the Black Peaks. High Albania. Secret Lands of Southern Europe.
