“Is this a bad thing? That they don’t?”
“Hey. Kiddo. What if you are pregnant?”
“Oy!”
“What’s to oy about? What would be so terrible about that?”
“My dictaphone!”
“What about it?”
“I just saw this...apparently, I left it on—after I erased the stuff.... Or did I not lock it, and it came on accidentally in my purse?”
“You mean, it was recording the whole way home?”
“That’s what I’m telling you, look, it’s on! It’s still rolling...”
“No shi—”
CLICK.
***
Daryna is sitting on the edge of the bathtub holding the test stick in her fingers—carefully, like a rare insect, a wingless dragonfly with a delicate blue fuselage. She sits and looks, unable to take her eyes off of it: to her, the strip seems to be alive. About to move. Or do something else to reveal itself, something completely unpredictable. Especially since, as the instructions claim, after ten minutes, the reading can disappear. Still, what she is seeing is beyond doubt.
It is real. It exists.
Two lines. Two blood-red vertical lines, exactly in the middle. Like a pair of tiny, very straight capillaries that have swelled up and begun to pulsate, instantaneously, and of their own volition.
Over 99% accuracy.
This has happened. And it cannot be undone. She can close your eyes, flush away the test, not tell anyone, and pretend for a while (How long?) that this did not happen; it was just an illusion, a mirage, a sudden instance of astigmatism, double vision. No one else has seen this; no one could testify that there were two lines.
But two is how many there are.
And this is indisputable. Regardless of whether anyone else has seen it. It just—is.
This cannot be replayed. She cannot delete it from her computer, she cannot set the clock back to the “time before,” she cannot say to the darkness, where she cannot see either the director or the cameraman, “I’m sorry, I misspoke there, let’s go back and record again from this point, here, yes.”
It is.
Well, hello then, she thinks—a single breath of her entire being.
And instantly feels terrified.
Who are you?
Somewhere there, inside her, in an invisible cranny, in the self-propelling churn of her hot cells. (Are they actually hot? What is the temperature, pressure, the relative moisture of air in there? Is there even enough air?) Still no one, still not an existence. No machine can find you. But you already are; you are already there. Here.
Like looking into the wrong end of a telescope—a dizzying flight, an immensely long, spiraling tunnel with a golden speck of light at the far end, and coming from there, a moving black dot. She can’t see its shape yet from this far away, but that’s just a matter of time: its approach is irreversible, its velocity known.
Two red vertical lines on the narrow strip of the test stick. The first portrait of a future person.
Of her child.
Ripened: the word surfaces in her memory, something dropped there like a seed from what seems like a thousand years ago. No one speaks like that anymore—ripened—who spoke like that, Grandma Tetyana?
And right away—the next frame, scorchingly vivid, as if it’s just been digitally remastered (Where does it all lie hidden, in what vaults?): little Darochka, Odarka, as her grandmother called her (and she didn’t like it, pouted at Grandma: how crude!), listens, with a massive down blanket pulled all the way over her head (when you dive under a down blanket, you must tuck your feet under you right away and pull your nightdress over them, so as not to lose the warmth: the sheets are stiff and cold, the bed boundless like a snowy desert; in daytime a fluffed-up pyramid of sundry pillows towers on its expanse, pillowcases decorated with strips of embroidery and openwork, whose patterns are also imprinted in her memory as they were on her cheek when she woke up in the morning—you could run your finger over every stitch). The doors are open from the dark around her (a tunnel) to where the fire glows in the stove, where they are talking: her mom (she is the one who brought Darochka to visit Grandmother), Grandma Tetyana, and Aunt Lyusya. Grandma talks loudly as rural people, unaccustomed to whispering so as not to wake someone else, usually do, and Mom keeps shushing at her—every time she does, all three peer from their end of the tunnel into the room with the enormous wooden bed, where Darochka has hidden. Then Grandma Tetyana inquires—loud as a churchbell—“Is she asleep?” and the conversation resumes at the same volume as before.
Darochka is waiting for Mom to come to bed with her (then it’ll be warm), and words she doesn’t quite understand, the resonant and mysterious ripened among them—at first Darochka thinks it’s about a plant, but then realizes it is not—waft toward her, churning her sleep like oars beating on water: “When I was ripened with you, it happened to me too,” rises Grandma Tetyana’s voice (a contralto), and Darochka wishes desperately that her eyes weren’t so heavy and that she could grasp what it is they are talking about, but she can’t—all she gets is a tinge of something unattainably mysterious and solemn, so solemn that Mom has forgotten about Darochka and says something to Grandma Tetyana in a lowered voice, while tossing one new log after another into the stove, to keep the fire going, like in Darochka’s fairytale rhymes, burning high and bright, and Grandma goes on “and I knew I’d have a girl because I had a dream.... ”
A dream? She’s had no dreams. No special dreams at all—except that one, Adrian’s last dream in which they were together, in the same movie theater the whole night—breaking out of it, every so often, as if for a smoke out in the darkness, surfacing to the light of the nightlamp. She remembers that light shining on Adrian’s head as he bent over the bedside table, the hair at the nape of his neck, a few backlit ruffled strands of it when he sat up to write himself a note, barely awake; and the recollection instantly makes the room go misty before her eyes, as they swell with tears of tenderness, and without realizing it, she spreads her knees like a cello player and touches herself where her yearning furrow took the fallen seed: it’s Aidy’s; it came from him. It’s his.
That’s when it happened. Now she feels like she has known this from the beginning. From that very night. Oh, that night. In the mirror above the sink, Daryna sees her lips stretch in a spontaneous spellbound smile. How could such profusion of life be contained in such a short amount of time? Years packed tight, like electrons in an atom’s nucleus, something else from nuclear physics that Aidy explained....
Love me. Love me all the time—and together, knit indivisibly into one, grown into each other, we enter the same tunnel, the same movie theater, and leave it together, too, wincing at the daylight, unable to tell which limbs are whose, and before that, you were inside me again, while I slept, thrust after thrust, the film rolls; don’t leave me; it’s moist, fertile, fecund; we melt the snow below us; the ground washes away; we are lying in a pool of tears on the bare surface of a sad planet where everything once went wrong and must begin anew—bacteria, amoebas, the first man and the first woman, a new era, did you see? Yes, I did, they all died, and we return again to the place where the same movie is being played for the two of us, the film rips into white flashes inside the single mind knit from our two minds, machine-gun fire goes right through me, the fiery bullets explode inside me, a cannonade.
How many times did it happen that night, seven, eight? He was the one who counted, then laughed in the morning that he couldn’t keep track, either; and she remembered everything as a whole, a single roiling river, hot as lava, that rolled and rolled carrying her with it.... How much life they were given in a single night! Their wedding night. Their wedding, that’s what it was—the night of their wedding. Their marriage—to the toll of someone else’s deathbell.
A family now. Forever.
They married us, Daryna thinks, speaks the thought to herself from beginning to end, completely, for the first time—gives voice to the idea, which, u
ntil now, merely stirred inside her, a half-guess afraid to become words: those who died that night in the bunker, married us. They knew.
The tile floor feels cold beneath her feet, and she pulls her nightgown over her knees, unseeing.
It’s pointless now, as it always is in moments when you realize that something irreversible has happened, to let her mind ramble, feverishly shuffling the deck of circumstances this way and that, to pull and tug at them like on a purse caught in the subway doors: How, why, it can’t be, how could it possibly have happened—she’s been swallowing those pills, expensive as hell, religiously, and by the calendar, too, it seemed too early? What went on between them that night could not be contained by any calendar or pharmacological formula—companies fold, factories go under. That was stronger.
And now she has it inside her.
Hello, then.
Everything happened of its own accord. Everything has been done for her—she has no say in it, no will of her own. Someone else’s will is at work, however—whose?—and all she has left to do was to obey it. Accept it. Lie under it.
She is a bit stunned with this new feeling—and at the same time, deep in her heart, strangely flattered: as if she’s been jerked forth from the ranks of indiscriminate figures lined up on a drilling field, pointed out by the commander in chief himself. On the other side of the field, a fire burns in a stove in the darkness, and the three Fates—Mom, Aunt Lyusya, and Grandma Tetyana—turn to look at her with the same expression on their faces: the serene, all-understanding, and unclouded look that is brought to women’s faces by the knowledge of the hardest and most important human work on earth. They turn, peer: Is she asleep? Awake? She’s awake already—come on then, come over here, to our side...
How many of them are out there, on the other side, disappearing into the darkness, no longer visible to her eyes? An army. An unseen, uncounted underground army, the most powerful in the world, one that pursues its war, silent and determined, over centuries and generations—and knows no defeat.
“Women won’t cease giving birth.” That’s what Adrian wrote down on the pack of cigarettes by the light of the lamp that night. Someone said this to him, in his dream. Someone told him to remember it. He wrote it down and wondered later what this might mean and why such an obvious truth should have appeared in such a near-death dream—a dream about war, to boot.
Here’s the answer. In her hand.
An army, yes. A second front. No, the other front—so much stronger than the first.
The two red (growing darker already) vertical lines on the test strip—this is her draft notice.
The only thing she can still do—the only thing still within her power and under her control—is to desert. This option is always available, with every draft. The black dot’s movement from the distant light at the end of the tunnel can be stopped; there is a way—she could blow up the tunnel.
Even a year ago that’s what she probably would have done, Daryna thinks, deeply moved, as if in response to events happening to someone else (“distanced” she involuntarily recalls hearing Adrian say, and this additional evidence of his presence inside her prompts another wave of warmth to fill her). Even six months ago, less than that—when was this?—yes, at Irka Mocherniuk’s birthday: the women sat in the kitchen, and Irka kept lighting up and then stubbing out her just-lit cigarette in alarm (“What am I thinking!”), smearing her mascara on her cheeks and telling them how she’s been trying to get pregnant with her new boyfriend, and how it’s not working, and how she madly, desperately wants to have another child; Igorchyk is a big boy already, and she just can’t help it—she’s got this urge to squeeze and kiss every baby in a stroller she sees in the street—the same eternal female talk around a fire, where each one chimes in with her own “and that’s how it was for me” by means of counsel, and everyone wants to hear it, the principle that was borrowed and then appropriated, without acknowledgement or credit, by Alcoholics Anonymous. And all of a sudden, they all ganged up on Daryna, like a flock of hens, pecking at her from every side: What about you, Sis, what are thinking, you’re thirty-nine already, don’t you know they automatically put every baby born after thirty in the high-risk group; you don’t live in Sweden in case you haven’t noticed, so what’s the matter, what are you waiting for, what do you mean “I don’t want to,” what do you mean you’re afraid? Everyone’s afraid and everyone pushes them out, you’re just stupid!
And she, backed into a corner, answered honestly and, to her own surprise, as clearly as if she’d been reading prepared text for the sound mixer, that her own survival cost too much for her to dare take on the responsibility for someone else’s. She remembered these words because after she spoke them, for a moment, there was silence, the girls went quiet. Not because they granted her point, Daryna sensed, but because this was a line from a different script. From a different front—whose existence they, of course, acknowledged, and which they were perfectly willing to treat with due respect, but which really, secretly, somewhere in their very heart of hearts, they did not take seriously: they knew something more important.
Even a year ago—yes, quite possibly. She’d have tortured herself for a couple days, wavered, cried—and then she’d have gone to get an abortion. Although back then she had, among other things, a secure job with a full benefits package. Now she has to fend for herself. And without any especially exhilarating prospects, truth be told. She ought to be pulling her hair out: Of all things, a baby’s not what I need right now! Forget me—hell knows what’s going to happen to this country in six months!
And yet, somehow, all this no longer seems important. Instead, it all feels exactly like lines from a different script.
This is important: She doesn’t have it in her to blow up the tunnel. This she knows for certain. The mere idea of it, detached and foreign, from a previous life, starts a drum beating under her skin and the wind howling in her ears, like bursts of machine-gun fire punctuated by explosions—Daryna shudders and looks at her arm: it’s covered in goose bumps. How strange that this is her arm. That these are her feet on the tile floor. That it is her thigh—so large—draped over by the shroud of her nightgown.
Her body, as her will, no longer belongs to her—it is no longer her. It ceased coinciding with her. It was meant for one more person, turns out, from the very beginning. A vessel. Ripened.
Because all this has already happened before—she has seen the tunnel explode. She saw it from inside, the way no ultrasound machine or any other contraption can show it. She and Adrian were shown this—no, only she was shown this that night, he did not see it—“The way you moaned...it scared me a little.”—“It really seemed a lot like dying.” No, even before that night, earlier, she was shown this right away, in the beginning, when she first glanced at the photograph in which a young woman in a rebel army uniform, squeezed between two men as between the millstones of fate she had chosen for herself, glowed at the camera with her otherworldly motherhood: a white flash like a thousand suns exploding at once or spotlights fired up in the dark of night—and the earth flies up in a towering black wave. And that’s it, the end. The tunnel is buried. No one will ever climb out.
Only the tapping from below—indistinct, uneven, going on for years, decades: someone wants to be heard, someone is not giving up, someone is calling to be let out...
I was wrong, Daryna thinks. All this time, the entire eighteen months (Is that how long it’s been already? That’s how long we’ve been together?) I believed that Gela called me to her death. But she didn’t—it was the death of her child.
That’s what was tormenting her.
But eighteen, or even twelve months ago, the then Daryna Goshchynska—a well-known journalist, the host of Diogenes’ Lantern, a successful self-made woman who posed for covers of women’s magazines and represented a status trophy for men who are driven around in company-owned Lexuses—would not have understood something like this. She had to change first.
They, the dead, helped h
er.
Over on the other side of the field, where the fire burns, the darkness begins to lift slowly, and behind the backs of her three Parcae, Daryna sees Gela. She sees the women of Adrian’s line—the ones she knows only from his family photos: Mom Stefania (this is the first time Daryna addresses her that way, in her mind—up until now she was always Aidy’s mom) and Granny Lina and Great-Grandmother Volodymyra, Mrs. Dovgan, and some other ladies, from the ’30s, ’20s, teens, the beginning of the past century, with little cloche hats pulled down over their eyebrows, silk bands, tall laced boots—of course, they are all related to the one who is inside her, he or she is theirs, too, their blood; they have a claim—and they mix in with my Grandma Tetyana and Aunt Lyusya, as if for a wedding photo together.
How could it be, Daryna thinks with quiet astonishment (if it is possible to be astonished quietly—but she can; she is adapting to their ways, to the unclouded, all-understanding serenity of those dead victors who finally won their war)—how could it be? Why didn’t anyone ever tell her that it all began so long ago, long before she was born—that one famine year when Aunt Lyusya got from Great-Aunt Gela that sack of flour that kept Daryna’s mother alive, that that’s when they had met, these two women who have now become family, only Aunt Lyusya did not speak of this to anyone until she died, she had promised not to tell—and did not?
But how do I know this, where does this certainty come from, this sealed, spellbound knowledge—was this also in the dream that night? Gela did not choose me—Gela simply followed her flour to find me. She followed the tracks of the life she once saved—in exchange for the one that had been cut short inside her.
Well then, hello. Can you hear me? Do you have any idea in there, inside me, how many people had to work—and how hard!—to call you forth from the far end of that tunnel?
The Museum of Abandoned Secrets Page 76
