Weighing that statement with a frown, Pelkin brought out a fountain pen, shook it, then added a single downstroke. “An M like this, is what Mary had?”
“I’m sorry, how many elephants have letters on their ears? Perhaps all of them. I’ve only examined one up close.”
And at once there came forth the bitterness Nash had been trying so hard not to taste. The glimpses he’d had into Mary’s eye, the raw mind he’d seen there, how she had been betrayed.
“One elephant, I’m thinking,” Pelkin said. “There was an elephant named Nommi, with Ringling, and four years ago she killed a man. I think they just hustled her out the back way in the middle of the night, changed her name, and sold her to you.”
“That’s impossible,” Nash said, but as he did, he brought up the photographs one by one and stared at them. “These are Nommi?”
“One of them is. One is of a Sells elephant, name of Veronica. She was a killer too, six years ago. And the name, see, if you—” Pelkin awkwardly put up two fingers to make a V, and then joined with them a finger from the other hand, which made a backward N. He moved his fingers around, trying to get it right, and then gave up. “Before that, Ionia. That’s the one with the tiara.”
Nash wanted to tell Pelkin that he was insane, but could somehow not move his mouth to form the words. He had a sickly feeling, one tinged with guilt, as if he himself were being accused.
“The man Mary trampled in Olson, he was on a horse,” he said, meaning by this to begin a conversation that would end with Mary being, if not blameless or excusable, than at least understandable: an animal pushed beyond her natural limit.
“Mary didn’t exactly trample Phelps, did she?” Pelkin said.
“Well . . .”
Pelkin started packing up his photographs, and Nash hoped this meant it was over. But instead, there was a new photograph to study. It was about eight inches tall, and of such length that it came in a roll, which Pelkin unwrapped. He smoothed it out, then weighted it down at either end with coffee cups.
It was a safari shot. Five men at the center, in white pith helmets, Springfields cracked open across their laps. Native bearers of a tribe Nash did not recognize were to the left and to the right. Some of them covered their faces before the camera, but left the rest of themselves exposed, including the women, a detail Nash dwelt on for a shameful amount of time before realizing what, exactly, he was being shown.
The five hunters were all posing with their trophies: one man atop them, two on either side, two kneeling before them—a half-dozen dead African elephants.
“Oh, my lord,” Nash cried.
There were pencil marks around the men’s faces, which were half-crinkled in the photograph, hardly recognizable to begin with. Pelkin tapped on the image of one man to the right, whose rifle was jauntily slung over his shoulder. “Timothy Phelps,” he said, “when he was a much younger man. The Southern Crescent Railroad, in 1889, took its senior-most managers on safari to the dark continent. Five of them are now dead. Killed by elephants.” He picked up his coffee cup; the photo rolled shut. “An elephant.”
Nash smoothed out the photo, holding it open himself. He stared until full understanding settled in on him. He felt buoyed by it; he could make sense of this. Almost giddily, he whispered, “Mary’s family, then?”
“What?”
“The elephants who were killed here on the hunt. They’re Mary’s family, aren’t they? She’s been having her revenge.”
There was a rotten silence in the room as Pelkin sized him up, astonished. Not in a pleasant way. At once, the sourness of the circus returned to Nash. Pelkin’s look was the kind reserved for the lowest hick, the kind who buys the Fiji Mermaid, the he/she dancer blow-off, the pickled punks and the lemonade, all of it, hook, line, and lead-heavy sinker.
“You think . . .” Pelkin grinned. “You think Mary, an elephant, is the mastermind, or something?”
“Well.”
“Look.” Pointing again into the group of hunters. Toward the left, isolated from his comrades, arms folded, wearing no gun himself, was Joseph Bales.
“Oh! How? How?” Nash paused, helplessly.
“You know him as Bales, right? That’s not his name. His name is Bowles. The clever ones, when they change their names, make them similar enough they’ll answer to them in their sleep. Bowles was supposed to be promoted, and he wasn’t. I hear he was a terrible safari member, made a big fuss about everything, spent hours telling his fellow men around the campfire how uneducated they were. After the safari, he was fired. He went bitter, Nash. How bitter, no one knew. Some bitter guys, they scheme but they don’t have any follow-through. They fade. Not Bowles. He went out and became a circus clown, the way some of the really bitter ones do. For the last dozen years, he has been luring these men to their deaths. The day before your circus arrived in Olson, Phelps received a telegram telling him to ride his horse to the parade, as a wonderful surprise was waiting.” Pelkin shook his head. “Wasn’t so wonderful, in my opinion.”
For a great deal of time, Nash said nothing. He felt he should say something, but the specifics eluded him. Pieces of this macabre plot surfaced: Bowles scheming revenge, Bowles becoming a circus clown, alighting on the poetic justice of death-by-elephant. Finally, he said, “Aristotle.”
“What?”
“He liked Aristotle,” he said, blushing a bit.
Pelkin shrugged, and then wrote Aristotle on the back of one of the photographs. “Any ideas where Bowles might have gone?”
“Why did he kill her?”
“Pardon?”
With no difficulty, Nash was back in the circus wagon, with Bales opposite him, Bales holding back tears—or was he actually crying them?—and determined to have Mary hanged. “He said killing her would serve justice.”
“Oh. Yeah, the justice expert. Sure. He was done, Nash. He’d managed to get her out of trouble four times before that. Slipped away in the dead of night four times, changing her name, changing his name. This time, he didn’t need her anymore. He’d killed everyone he wanted to, and this way he wasn’t going to leave any evidence behind.”
“Hmmph.” Nash nodded. “So he betrayed her.”
“Sure,” Pelkin said. Like most railway detectives, he was terse, but when revealing secrets he took a shameless delight in relaying the horrors behind them. “They were partners. She didn’t know the game was rigged until the blow-off.”
“I see.”
He now wanted Pelkin to depart, as he was beginning to feel a strange and restless feeling, as if impatient for a loved one returning from a long trip. He wanted to throw open the door, look down the drive, and see, bags in hand, himself. He hardly listened as Pelkin snapped out another pair of photographs.
“These men, though, it seems Mary—or whatever her name was at first—she killed them in 1902. That was two years, as far as I can tell, before she met Bowles. It was a pretty fair partnership, I’d say. A good match.”
“Yes, yes, I see,” Nash said, impatiently. He was beginning to listen not to Pelkin but to a story unfolding in his brain. Mary, an animal, whose impulses were harnessed by a bad man. The tragedy of her life, coupled with the sheer evil of Bowles, made him hurry through the remainder of the interview with Pelkin. He was unsure of all things in the world, save one: He needed to be alone.
The conversation continued for less than five minutes. Pelkin had confirmed the trail was cold here. Abruptly, he shook Nash’s hand, and he left.
When Nash was quite alone, he dug out a wax pencil and a sheet of butcher paper, and began to write down all he remembered about Mary, trying to balance the good (her intelligence and, generally speaking, kindness) with the bad—her having murdered people, for instance. He remembered then the salty tracks on Squonk’s cheeks— if they had been there at all—and as he thought of them glistening, they enraged him. False, awful, sour, heedless crocodile tears, the worst kind of carny, the lowest of men, working Nash like a sucker.
He wrote long into
the afternoon, had a snack, and then began to rewrite everything into a short and morally instructive playlet, which could be performed by a small circus. It was about a wicked clown and the elephant he tricked. When he was done, Nash realized he was about to shop for another elephant, and he made a note to send out wires to Sarasota, where the circus exchange kept track of such requests.
From 1919 to 1924, the Nash Family presented their circus as ever, sometimes lucky enough to adhere to a strict schedule when times were good, other times blowing the route and wildcatting it until business caught on again. The lynchpin of their show was Nash’s playlet, a melodrama that featured the impish and terrible antics of Moxie, a clown, and Regina, a luckless and sad elephant suffering fits during which she accidentally murdered people. Finally, she was taken outside, and, as seen in a silhouette projected against the raw canvas tent, hanged until dead.
In his broadsides, and his talking before the performance, Nash explained that every word was the truth, including the hanging, though he had changed the names. It was said that the finale was done in shadow because of its graphic and disturbing nature, which was true, but actually secondary to its function as a special effect. Nash would never really harm the elephant, whom he loved: a second love, the cautious kind. This one was named Emily, and she had credentials so spotless her owner liked to say she could run for the Senate.
The crowds were entertained and disturbed by the spectacle, which was never quite the success Nash hoped. When the flaps to the tent opened after each performance, the crowds were hesitant to leave, and some audience members stayed behind to talk to Nash. There had been rumors, promulgated in whispers by other Nash Family performers, that Mary had killed even before she’d met Squonk. He was an awful man, to be sure, but wasn’t Mary herself also guilty? Wasn’t the execution, even if facilitated by Squonk, somewhat just? And Bales, did he escape, just like that? Did he kill again? Why wasn’t he brought to justice in the end? And though Nash tried to answer the questions, he always grew flustered, as if the audience were missing the point, and he would retire to his wagon for the night.
There is no record of the last performance; it was never truly historical or important. It was unusual, a sort of passion play on a pachydermic scale, but though generous in spirit, it was too small a venue—melodrama—to incorporate a serious truth: Just as there are intelligent, wicked men, there are intelligent, wicked elephants. A thing of pure nature is not by necessity a good thing.
Just before the turn of the new century, the story of Mary was determined to be folklore, a confused truncation of the truth, something contradicted by old-time Olsonites, rerouted by oral historians: all a lie, it was now said. There were rumors of an amateur film (long-since disintegrated “safety” film that was no more stable than nitrate in the end)—exactly the kind of red herring “evidence” that indicated an urban legend at play. There had indeed been posters featuring an elephant named Mary, and several years later an odd play about hanging an elephant. But this was a play put on nowhere better than a circus, and it was apparent people had confused this with the truth. An elephant hanged? Papers were composed in the anthropology department of the University of Tennessee about the conflation of lynching narratives with that of an elephant. It was explained that the story evolved from a need to dehumanize the victims, or, in a contradictory interpretation, to enrage the very people who would never lift a finger to protect a fellow human being.
When facing the past, and attempting to do so squarely, it’s difficult to understand what is marvelous, what is real, what is terrible, and what points overlap.
But there has been a recent development: Wildwood Hill, long ago surrounded by the blue fencing and tarpaulins of a Superfund site, has been purchased by the petrochemical combine that inherited the land in a deal with the vanished McKennon Railroad. There is a move to cap the area in advance of a toxic waste cleanup, and the first gesture is to dig wells into the hill’s core, to test the soil for penetration of leeching chemicals.
Ten yards from the end of the tracks, under debris from six generations of abandoned railroad technology, is an excavation site twenty feet wide and twenty feet deep, scratched out of the clay almost a hundred years ago, and filled in again almost immediately. At the center, among the roots and weeds, the tiny stones and shards of broken glass and metal, lie elephant bones.
Caked with dirt, dark with dried tissues, they also gleam with a necklace of stainless-steel chain, and there is a shroud, once probably red, once likely ruffled and imperial, now as decayed and colorless as the dirt.
NOTE: This story could only have been written with the aid of The Day They Hung the Elephant by Charles Edwin Price.
The Bees
By DAN CHAON
No hellhound hunts a man more implacably than
the memory of the son he once abandoned.
Gene’s son Frankie wakes up screaming. It has become frequent, two or three times a week, at random times: midnight—three AM—five in the morning. Here is a high, empty wail that severs Gene from his unconsciousness like sharp teeth. It is the worst sound that Gene can imagine, the sound of a young child dying violently— falling from a building, or caught in some machinery that is tearing an arm off, or being mauled by a predatory animal. No matter how many times he hears it he jolts up with such images playing in his mind, and he always runs, thumping into the child’s bedroom to find Frankie sitting up in bed, his eyes closed, his mouth open in an oval like a Christmas caroler. Frankie appears to be in a kind of peaceful trance, and if someone took a picture of him he would look like he was waiting to receive a spoonful of ice cream, rather than emitting that horrific sound.
“Frankie!” Gene will shout, and claps his hands hard in the child’s face. The clapping works well. At this, the scream always stops abruptly, and Frankie opens his eyes, blinking at Gene with vague awareness before settling back down into his pillow, nuzzling a little before growing still. He is sound asleep; he is always sound asleep, though even after months Gene can’t help leaning down and pressing his ear to the child’s chest, to make sure he’s still breathing, his heart is still going. It always is.
There is no explanation that they can find. In the morning, the child doesn’t remember anything, and on the few occasions that they have managed to wake him in the midst of one of his screaming attacks, he is merely sleepy and irritable. Once, Gene’s wife Karen shook him and shook him, until finally he opened his eyes, groggily. “Honey?” she said. “Honey? Did you have a bad dream?” But Frankie only moaned a little. “No,” he said, puzzled and unhappy at being awakened, but nothing more.
They can find no pattern to it. It can happen any day of the week, any time of the night. It doesn’t seem to be associated with diet, or with his activities during the day, and it doesn’t stem, as far as they can tell, from any sort of psychological unease. During the day, he seems perfectly normal and happy.
They have taken him several times to the pediatrician, but the doctor seems to have little of use to say. There is nothing wrong with the child physically, Dr. Banerjee says. She advises that such things are not uncommon for children of Frankie’s age group—he is five—and that more often than not, the disturbance simply passes away.
“He hasn’t experienced any kind of emotional trauma, has he?” the doctor says. “Nothing out of the ordinary at home?”
“No, no,” they both murmur, together. They shake their heads, and Dr. Banerjee shrugs.
“Parents,” she says. “It’s probably nothing to worry about.” She gives them a brief smile. “As difficult as it is, I’d say that you may just have to weather this out.”
But the doctor has never heard those screams. In the mornings after the “nightmares,” as Karen calls them, Gene feels unnerved, edgy. He works as a driver for the United Parcel Service, and as he moves through the day after a screaming attack, there is a barely perceptible hum at the edge of his hearing, an intent, deliberate static sliding along behind him as he wanders through
streets and streets in his van. He stops along the side of the road and listens. The shadows of summer leaves tremble murmurously against the windshield, and cars are accelerating on a nearby road. In the treetops, a cicada makes its trembly, pressure-cooker hiss.
Something bad has been looking for him for a long time, he thinks, and now, at last, it is growing near.
When he comes home at night everything is normal. They live in an old house in the suburbs of Cleveland, and sometimes after dinner they work together in the small patch of garden out in back of the house—tomatoes, zucchini, string beans, cucumbers— while Frankie plays with Legos in the dirt. Or they take walks around the neighborhood, Frankie riding his bike in front of them, his training wheels recently removed. They gather on the couch and watch cartoons together, or play board games, or draw pictures with crayons. After Frankie is asleep, Karen will sit at the kitchen table and study—she is in nursing school—and Gene will sit outside on the porch, flipping through a newsmagazine or a novel, smoking the cigarettes that he has promised Karen he will give up when he turns thirty-five. He is thirty-four now, and Karen is twenty-seven, and he is aware, more and more frequently, that this is not the life that he deserves. He has been incredibly lucky, he thinks. Blessed, as Gene’s favorite cashier at the supermarket always says. “Have a blessed day,” she says, when Gene pays the money and she hands him his receipt, and he feels as if she has sprinkled him with her ordinary, gentle beatitude. It reminds him of long ago, when an old nurse had held his hand in the hospital and said that she was praying for him.
Sitting out in his lawn chair, drawing smoke out of his cigarette, he thinks about that nurse, even though he doesn’t want to. He thinks of the way she’d leaned over him and brushed his hair as he stared at her, imprisoned in a full body cast, sweating his way through withdrawal and DTs.
He had been a different person, back then. A drunk, a monster. At nineteen, he’d married the girl he’d gotten pregnant, and then had set about to slowly, steadily, ruining all their lives. When he’d abandoned them, his wife and son, back in Nebraska, he had been twenty-four, a danger to himself and others. He’d done them a favor by leaving, he thought, though he still felt guilty when he remembered it. Years later, when he was sober, he’d even tried to contact them. He wanted to own up to his behavior, to pay the back child-support, to apologize. But they were nowhere to be found. Mandy was no longer living in the small Nebraska town where they’d met and married, and there was no forwarding address. Her parents were dead. No one seemed to know where she’d gone.
McSweeney's Mammoth Treasury of Thrilling Tales Page 5
