In my office, in the late afternoon, I sat back. The diagram was there, separately drawn on a small, stiff card, the lines so light I could hardly make them out. But I saw a small sphere atop three jointed legs.
Then I unwrapped the piece of skin, which was tied up in a shred of leather. It was hard as coal and blackish-green, perhaps two inches by three, the scales like goose-bumps.
I looked up at my grandfather’s painting above my desk, “Ghosts Doing the Orange Dance.” I had examined it many times. The ghosts are like pentagrams, five-pointed stars, misty and transparent. They are bowing to each other in a circle, clutching the oranges in their hands. In the misty landscape, under the light of what must be the full moon behind the clouds, there are cabinets and chests of drawers where other ghosts lie folded up.
But now I noticed an odd detail for the first time. The furniture is littered across a half-plowed field. And in the background, against a row of faux-gothic windows, there are men and women hiding, peering out from a row of corn placed incongruously along the front. Their faces glint silver in the moonlight. Their eyes are hollow, their cheeks pinched and thin.
I got up to examine the painting more closely. I unhooked it from the wall and held it up close to my nose. Then I laid it among the piles of paper on my desk.
These similarities, these correspondences between my mother’s family and my father’s—I give the impression they are obvious and clear. But that is the privilege of the memoirist or the historian, searching for patterns, choosing what to emphasize: a matter of a few lines here and there, sprinkled over thousands of pages. Turning away, I wandered around my office for a little while, noticing with despair the boxes of old books and artifacts, the shelves of specimens, disordered and chaotic. A rolled-up map had fallen across the door. How had everything gotten to be like this? Soon, I thought, I’d need a shovel just to dig myself out.
But through the open window I could smell cut grass. I turned toward the screen again, searching for a way to calm myself and to arrange in my mind these disparate narratives. Because of my training as a literary scholar, I found it easy to identify some similarities, especially the repeating motif of the corn stalk, and the conception of a small number of unworthy people, obliged to protect their world or their community from an awful power. And even in the scene of triumph described by the Reverend Parke—achieved, apparently, through some type of extraterrestrial intervention—was I wrong to catch an odor of futility? This was no final victory, after all. These struggles were nightly, or else at certain intervals of the year. The enemy was too strong, the stakes too high. Our weapons are fragile and bizarre, our allies uncertain and unlike ourselves—no one we would have chosen for so desperate a trial.
I sat back down again, touched my computer, googled Ember Days, idly checked my email, not wanting to go home. The buzz of the lawnmower was gone. The campus was underutilized, of course. The building was almost empty.
I cleared a place on my desk, crossed my arms over it, laid down my cheek. Not very comfortable. But in a few minutes I was asleep. I have always been a lucid dreamer, and as I have gotten older the vividness of my dreams has increased and not diminished, the sense of being in some vague kind of control. This is in spite of the fact that I sleep poorly now, never for more than a few hours at a time, and if a car goes by outside my bedroom, or if someone were to turn onto her side or change her breathing, I am instantly awake. As a result, the experience of sleeping and not sleeping has lost the edge between them. But then at moments my surroundings are sufficiently distorted and bizarre for me to say for certain, “I am dreaming,” and so wake myself up.
With my cheek and mouth pressed out of shape against the wooden surface, I succumbed to this type of double experience. I had a dream in which I was sufficiently alert to ponder its meaning while it was still going on. Not that I have any clear preconceptions about the language of dreams, but in a general way I can see, or pretend I can see, how certain imagery can reflect or evoke the anxieties of waking life—the stresses on a relationship or a marriage, say, or the reasons I was sitting here in my office on a sweltering afternoon, instead of going home. I dreamed I was at one of those little private cave-systems that are a roadside feature of the Shenandoah Valley Interstate—I had visited a few with Nicola and Adrian when he was four or five and we were still living in Baltimore. But I was alone this time. I felt the wind rush by me as I stood at the entrance to the main cavern, a function of the difference in temperature outside and inside. It gives the illusion that the cave is “breathing,” an illusion fostered in this case by the soft colors and textures of the stone above my head, the flesh-like protuberances, and the row of sharp white stalactites. Perhaps inevitably I now realized I was in the mouth of a sleeping giant, and that the giant was in fact myself, collapsed over my office desk. And as I ran out over the hard, smooth surface, I realized further that I had taken the shape of a small rodent; now I jumped down to the floor and made a circuit of the room, trying to find a hole to hide in, or (even better!) a means of egress through the towering stacks of books.
5. A DETOUR
When I woke, I immediately packed my laptop, locked my office. It was late. I went down to my car in the lot below Stetson Hall, seeing no one along the way. I passed what once had been known as the North Academic Building—subsequently they’d made the basement classroom into a storeroom. The glass they had replaced with bricks, so that you couldn’t look in. But even so I always walked this way, in order to remember my first trip to Williams College years before, and the class where I had met my wife. In this dark, cannibalized building, Professor Rosenheim had taught his 100-level course on meta-fiction. Andromeda Yoo (as I will call her for these purposes) had been a first-year student then.
These days we also live in a town called Petersburg, though the coincidence had never struck me until now. It is across the border in New York State, and there are two ways to drive home. One of them, slightly longer, loops north into Vermont.
Usually I take the shorter way, because I have to stop and show my identification and vaccination cards at only one state inspection booth and not two. There’s hardly ever a line, and usually you just breeze through. Of course I accept the necessity. The world has changed. Even so, there’s something that rubs against the grain.
But that afternoon I headed north. On my way along Route 346, it occurred to me suddenly that I recognized the façade in the painting of the star-shaped ghosts. It belongs to a gingerbread construction, a mansion in North Bennington called the Park-McCullough House, at one time open to the public, and not far from the campus where Edwin Park taught architecture and watercolor painting in the 1930s, until he was dismissed (my father once claimed) for some kind of sexual indiscretion.
But apparently, much later, subsequent to his marriage to Winifred, he had revisited the place. I knew this because of a strange document in a battered envelope, part of the contents of his leather valise, a scribbled note on the stationery of the Hanover nursing home where he had ended his life, and then a few typed pages, obviously prepared earlier, about the time, I imagined, that he had painted “Ghosts Doing the Orange Dance.” And then some more pages in a woman’s writing—when I first glanced at them, I had discounted the whole thing as some sort of meandering and abortive attempt at fiction. Now, as I drove home, I found I wasn’t so sure.
The note was attached to the pages with a paperclip, and the thin, spidery lines were almost illegible. Yet even though the letters were distorted, I could still see vestiges of my grandfather’s fine hand: “Ghosts; ghosts in the moon.”
And here is the typed text of the manuscript: “Now that I’m an old man, dreams come so hard I wake up choking. Now at midnight, with my wife asleep, I sit down hoping to expunge a crime—a tiny crime I must insist—that I committed in the Park-McCullough mansion on one autumn night when I was there alone.
“In 1955 I moved to Boston and married Winifred Nief, who had been a patient of my deceased wife. Within a
few years I retired from my architectural practice and removed to Old Mystic to devote myself to painting. About this time I became a member of the Park Genealogical Society, an organization of modest ambitions, though useful for determining a precise degree of consanguinity with people whose names all sound like variations of Queen Gertrude the Bald. Its standards of admission, as a consequence and fortunately, are quite lax.
“Starting in the early 1960s, the society had its annual meeting each Halloween weekend in the Park-McCullough House, a boxy Second-Empire structure in Bennington, which was no longer by that time in private hands. At first I had no wish to go. Quite the contrary. Winifred was bored speechless by the prospect, and I couldn’t blame her. But something perverse about the idea nagged at me, and finally I thought I might like to revisit that town, without saying why. Enough time had passed, I thought.
“Winifred said she might like to drive down to Williamstown and visit David and Clara. She could drop me off for the afternoon and pick me up later. I had no desire to see the children go out trick-or-treating. In those days I didn’t concern myself with my son’s family, except for Paul, though in many ways he was the least interesting of the four. He’d been born in a caul, which my daughter-in-law had not seen fit to preserve. The youngest daughter was retarded, of course.
“Winifred dropped me off under the porte-cochere on a beautiful autumn day. Among a dozen or so genealogists, it was impossible for me to pretend any relation to the former owners, who by that time had died out. But we traipsed around the house, listening with modest interest to the shenanigans of the Parks and the McCulloughs—Trenor Park had made his money in the Gold Rush. Even so, he seemed a foolish sort. Success, even more than accomplishment, is the consolation of a mediocre mind.
“The house itself interested me more, designed by Henry Dudley (of the euphonious New York firm of Diaper & Dudley) in the mid 1860s, and displaying some interesting features of the Romantic Revival. It was a shameless copy of many rather ugly buildings, but I have often thought that true originality in architecture, or in anything, can only be achieved through a self-conscious process of imitation. I was especially taken with the elegant way the staff’s rooms and corridors and staircases were folded invisibly into the structure, as if two separate houses were located on the same floor plan, intersecting only through a series of hidden doors. In fact there were many more secret passageways and whatnot than were usual. I was shown the secret tunnel under the front. There was a large dumbwaiter on the first floor.
“The docent told me stories of the family, and stories also about screams in the night, strange sounds and footsteps, lights turned on, a mysterious impression on the mattress of the great four-poster in the master bedroom. These are standard stories in old houses, but it seemed to me that an unusual quantity had accumulated here, a ghost in almost every room, and this over a mere hundred years of occupation. For example, there was a servant who had disappeared after his shift, never to be heard of again. A fellow named John Kepler, like the philosopher. He had left a wife and child in the village.
“I had thought I would go to the morning session and then use the afternoon to stroll about the town. As things turned out, I found my leg was bothering me too much. I could not bear to walk the streets or even less to climb the hill to the campus, for fear I might be recognized. I berated myself for coming within a hundred miles of the place, and so I took refuge in the mansion past the time everyone else had departed, and the staff was preparing for a special children’s program, putting up paper spiderwebs and bats. The docents were so used to me they left me to my own devices. Waiting for Winifred to pick me up, I found myself sitting in an alcove off Eliza McCullough’s bedroom, where she had written her correspondence at a small, Italianate, marble-topped table.
“I sat back in the wicker chair. I’ve always had an instinct for rotten wood, and for any kind of anomaly. I happened to glance at the parquet floor beneath my feet and saw at once a place where the complicated inlay had been cut apart and reassembled not quite perfectly. In old houses sometimes there are secret compartments put in for the original owners, and that secret is often lost and forgotten in the second generation or the third. And in this house I thought I could detect a mania for secrecy. I put my foot on the anomaly and pressed, and was rewarded by a small click. I could tell a box was hidden under the surface of the floor.
“I confess I was nervous and excited as I listened at the door for the footsteps of the staff. Then I returned and knelt down on the floor. I could see immediately the secret was an obvious one, a puzzle like those child’s toys, plastic sliding squares with letters on them in a little frame, and because one square is missing, the rest can be rearranged. Words can be spelled. The little squares of parquetry moved under my fingers until one revealed a deeper hole underneath. I reached in and found the clasp, and the box popped open.
“The hole contained a document. I had already been shown a sample of Eliza Park-McCullough’s handwriting, the distinctively loopy, forceful, slanting letters, which I recognized immediately. I enclose the pages, pilfered from the house. But because they are difficult to read, I also transcribe them here:
God I think I will go mad if I don’t put this down and put this down. Esther tells me to say nothing, to tell nothing and say nothing, but she does not live here. Nor will she come back she says as long as she lives. And the rest are all gone and will not come back for an old woman, nor can I tell them. It would be prison if they knew or an asylum. So here I am alone in the nights when the servants go back behind the wall, and I take the elevator to the second floor. And I cannot always keep the lights burning and the victrola playing and the radio on, and then I am alone. It has been twenty years since Mr. McCullough died and left me here, a crippled bird who cannot fly to him! So in the night I drink my sherry and roll my chair back and forth along the hall. I spy from the front windows, and I can almost see them gather on the lawn, not just one or two. But they nod shyly to each other as they join in the dance. The lamps that they carry glow like fireflies. But they are also lit from above as if from an enormous fire behind the clouds, an engine coming down. Some nights I think it must land here on the roof, and if I could I would climb to the top of the house, and it would take me up. Or else I lie on my bed and listen for the sounds I know must come, the clink of the billiard balls on the green baize, and the smell of cigar smoke even though it has been two years since I had them take the balls and cues away. I asked them to burn them. I am sure they thought me insane, but I’m not insane. Nor was I even unhappy till the monster came into this house, and if I’m punished now it is for giving him his post and not dismissing him. But how could I do that? John McCullough, do you forgive me? It was for his high forehead and curling brown moustaches and strong arms like your arms. Do you know when I first saw him, when he first stood there in the hall with his cap in his hands, I thought I saw your ghost. No one is alive now who remembers you when you were young, but I remember. That boy was my John brought back, and when he lifted me in his arms and carried me upstairs before the elevator went in, when he put me down in my wheel-chair at the top of the stairs, I scarcely could let go his neck. Do they think because I’m paralyzed that I feel nothing? Even now, past my eightieth year I can remember how it felt when you would carry me up those stairs and to my room, me like a little bird in your arms, though I could walk then and fly, too. Do not think I was unfaithful when I put my face into his shirt when he was carrying me upstairs. And when he put me down and asked me in his country voice if there was anything more, why then the spell was broken.
I do not say these things to excuse myself. There is no excuse. Though even now I marvel I was able to do it, able to find a way that night when they were all asleep and I was reading in my room. Or perhaps I had gone asleep. ‘Is that you?’ I cried when I heard the click of the billiard balls and smelled the cigar. I thought it was you, the way you put the house to bed before you came up. I pulled myself into my chair and wheeled myself down
the hall. ‘Is that you?’ And when I saw him coming up the stairs, you ask me why I didn’t ring the bell. I tell you it was all a dream until he spoke in his loud voice. I had no money about the place. Perhaps he thought I’d be asleep. He smiled when he saw me. He was drunk. I am ashamed to say I do not think he would have hurt me. But I could not forgive him because he knew my secret. I could tell it in his smiling face as he came down the hall. He knew why I could not cry out or ring the bell. Oh my John, he was nothing like you then as he turned my chair about and rolled me down away from the servants’ door. ‘Is that right, old bird?’ he said. He would not let go of my chair. Once he put his hand over my mouth. And he went through my jewel case and he turned out my closets and my drawers. He could not guess the secret of this box where I keep the stone. Then he was angry and he took hold of my arms. He put his face against my face so that our noses touched, and he smiled and I could smell his cologne and something else, the man’s smell underneath. I could not forgive him. ‘There in the closet,’ I said, meaning the water closet, though he didn’t understand me. I let him wheel me over the threshold, and then I reached out on the surface of the cabinet where Mr. McCullough’s man had shaved him every morning. There was no electric light, and so I reached out my hand in the darkness. The man’s head was near my head and I struck at him with the razor. Oh, I could not get it out of my head that I had committed a great crime! It was you, John, who put that thought into my head, and I did not deserve it! I pulled myself into my room again. I found a clean night-gown and took off my other one and lay down on my bed. When I made my telephone call it was to Esther who drove up from the town. I think I was a little insane, then. She scrubbed the floor with her own hands. She told me we must tell no one, and that no one would believe us. She said there was a space where the dumb-waiter comes into the third floor, a fancy of the builder’s she’d discovered when she and Bess were children. It is a three-sided compartment set into the top of the shaft. Esther does not live in the real world, though that is hard to say of your own child. She said the stone would keep the man away. But otherwise he would come back. She laughed and said it would be an eye for him. We’d put it into his head and it would be his eye. We’d claim he’d stolen it and run away. We’d claim a rat had died inside the wall.
The Year's Best Science Fiction and Fantasy, 2011 Edition Page 32
