“—once covered four square miles. A grand ceremonial center, the Hopewellian equivalent of Chichén Itzá, of Luxor, of—” He pauses. Awareness of her distress has finally filtered through the intensity of his archeological zeal. “How are you doing?” he asks gently.
She smiles a brave smile. Moistens her lips. Inclines her head toward the golfers, toward the tourists, toward the row of darling little houses outside the rim of the park. Shudders.
“Too cheery for you, is it?”
“Much,” she says.
Cheery. Yes. A cheery little town, a magazine-cover town, a chamber-of-commerce town. Newark lies becalmed on the breast of the sea of time: but for the look of the automobiles, this could be 1980 or 1960 or perhaps 1940. Yes. Motherhood, baseball, apple pie, church every Sunday. Yes. Zacharias nods and makes one of the signs of comfort at her. “Come,” he whispers. “Let’s go toward the heart of the complex. We’ll lose the twentieth century along the way.”
With brutal imperial strides he plunges into the golf course. Long-legged Sybille must work hard to keep up with him. In a moment they are within the embankment, they have entered the sacred octagon, they have penetrated the vault of the past, and at once Sybille feels they have achieved a successful crossing of the interface between life and death. How still it is here! She senses the powerful presence of the forces of death, and those dark spirits heal her unease. The encroachments of the world of the living on these precincts of the dead become insignificant: the houses outside the park are no longer in view, the golfers are mere foolish incorporeal shadows, the bustling yellow golf carts become beetles, the wandering tourists are invisible.
She is overwhelmed by the size and symmetry of the ancient site. What spirits sleep here? Zacharias conjures them, waving his hands like a magician. She has heard so much from him already about these people, these Hopewellians—What did they call themselves? How can we ever know?—who heaped up these ramparts of earth twenty centuries ago. Now he brings them to life for her with gestures and low urgent words. He whispers fiercely:
—Do you see them?
And she does see them. Mists descend. The mounds reawaken; the mound-builders appear. Tall, slender, swarthy, nearly naked, clad in shining copper breastplates, in necklaces of flint disks, in bangles of bone and mica and tortoise shell, in heavy chains of bright lumpy pearls, in rings of stone and terra cotta, in armlets of bears’ teeth and panthers’ teeth, in spool-shaped metal ear-ornaments, in furry loincloths. Here are priests in intricately woven robes and awesome masks. Here are chieftains with crowns of copper rods, moving in frosty dignity along the long earthen-walled avenue. The eyes of these people glow with energy. What an enormously vital, enormously profligate culture they sustain here! Yet Sybille is not alienated by their throbbing vigor, for it is the vigor of the dead, the vitality of the vanished.
Look, now. Their painted faces, their unblinking gazes. This is a funeral procession. The Indians have come to these intricate geometrical enclosures to perform their acts of worship, and now, solemnly parading along the perimeters of the circle and the octagon, they pass onward, toward the mortuary zone beyond. Zacharias and Sybille are left alone in the middle of the field. He murmurs to her:
—Come. We’ll follow them.
He makes it real for her. Through his cunning craft she has access to this community of the dead. How easily she has drifted backward across time! She learns here that she can affix herself to the sealed past at any point; it’s only the present, open-ended and unpredictable, that is troublesome. She and Zacharias float through the misty meadow, no sensation of feet touching ground; leaving the octagon, they travel now down a long grassy causeway to the place of the burial mounds, at the edge of a dark forest of wide-crowned oaks. They enter a vast clearing. In the center the ground has been plastered with clay, then covered lightly with sand and fine gravel; on this base the mortuary house, a roofless four-sided structure with walls consisting of rows of wooden palisades, has been erected. Within this is a low clay platform topped by a rectangular tomb of log cribbing, in which two bodies can be seen: a young man, a young woman, side by side, bodies fully extended, beautiful even in death. They wear copper breastplates, copper ear ornaments, copper bracelets, necklaces of gleaming yellowish bears’ teeth.
Four priests station themselves at the corners of the mortuary house. Their faces are covered by grotesque wooden masks topped by great antlers, and they carry wands two feet long, effigies of the death-cup mushroom in wood sheathed with copper. One priest commences a harsh, percussive chant. All four lift their wands and abruptly bring them down. It is a signal; the depositing of grave-goods begins. Lines of mourners owed under heavy sacks approach the mortuary house. They are unweeping, even joyful, faces ecstatic, eyes shining, for these people know what later cultures will forget, that death is no termination but rather a natural continuation of life. Their departed friends are to be envied. They are honored with lavish gifts, so that they may live like royalty in the next world: out of the sacks come nuggets of copper, meteoric iron, and silver, thousands of pearls, shell beads, beads of copper and iron, buttons of wood and stone, heaps of metal ear-spools, chunks and chips of obsidian, animal effigies carved from slate and bone and tortoise shell, ceremonial copper axes and knives, scrolls cut from mica, human jawbones inlaid with turquoise, dark coarse pottery, needles of bone, sheets of woven cloth, coiled serpents fashioned from dark stone, a torrent of offerings, heaped up around and even upon the two bodies.
At length the tomb is choked with gifts. Again there is a signal from the priests. They elevate their wands and the mourners, drawing back to the borders of the clearing, form a circle and begin to sing a somber, throbbing funeral hymn. Zacharias, after a moment, sings with them, wordlessly embellishing the melody with heavy melismas. His voice is a rich basso cantante, so unexpectedly beautiful that Sybille is moved almost to confusion by it, and looks at him in awe. Abruptly he breaks off, turns to her, touches her arm, leans down to say:
—You sing too.
Sybille nods hesitantly. She joins the song, falteringly at first, her throat constricted by self-consciousness; then she finds herself becoming part of the rite, somehow, and her tone becomes more confident. Her high clear soprano soars brilliantly above the other voices.
Now another kind of offering is made: boys cover the mortuary house with heaps of kindling—twigs, dead branches, thick boughs, all sorts of combustible debris—until it is quite hidden from sight, and the priests cry a halt. Then, from the forest, comes a woman bearing a blazing firebrand, a girl, actually, entirely naked, her sleek fair-skinned body painted with bizarre horizontal stripes of red and green on and buttocks and thighs, her long glossy black hair flowing like a cape behind her as she runs. Up to the mortuary house she sprints; breathlessly she touches the firebrand to the kindling, here, here, here, performing a wild dance as she goes, and hurls the torch into the center of the pyre. Skyward leap the flames in a ferocious rush. Sybille feels seared by the blast of heat. Swiftly the house and tomb are consumed.
While the embers still glow, the bringing of earth gets under way. Except for the priests, who remain rigid at the cardinal points of the site, and the girl who wielded the torch, who lies like discarded clothing at the edge of the clearing, the whole community takes part. There is an open pit behind a screen of nearby trees; the worshipers, forming lines, go to it and scoop up soil, carrying it to the burned mortuary house in baskets, in buckskin aprons, in big moist clods held in their bare hands. Silently they dump their burdens on the ashes and go back for more.
Sybille glances at Zacharias; he nods; they join the line. She goes down into the pit, gouges a lump of moist black clayey soil from its side, takes it to the growing mound. Back for another, back for another. The mound rises rapidly, two feet above ground level now, three, four, a swelling circular blister, its outlines governed by the unchanging positions of the four priests, its tapering contours formed by the tamping of scores of bare feet. Yes, Sybill
e thinks, this is a valid way of celebrating death, this is a fitting rite. Sweat runs down her body, her clothes become stained and muddy, and still she runs to the earth-quarry, runs from there to the mound, runs to the quarry, runs to the mound, runs, runs, transfigured, ecstatic.
Then the spell breaks. Something goes wrong, she does not know what, and the mists clear, the sun dazzles her eyes, the priests and the mound-builders and the unfinished mound disappear. She and Zacharias are once again in the octagon, golf carts roaring past them on every side. Three children and their parents stand just a few feet from her, staring, staring, and a boy about ten years old points to Sybille and says in a voice that reverberates through half of Ohio, “Dad, what’s wrong with those people? Why do they look so weird?”
Mother gasps and cries, “Quiet, Tommy, don’t you have any manners?” Dad, looking furious, gives the boy a stinging blow across the face with the tips of his fingers, seizes him by the wrist, tugs him toward the other side of the park, the whole family following in their wake.
Sybille shivers convulsively. She turns away, clasping her hands to her betraying eyes. Zacharias embraces her. “It’s all right,” he says tenderly. “The boy didn’t know any better. It’s all right.”
“Take me away from here!”
“I want to show you—”
“Some other time. Take me away. To the motel. I don’t want to see anything. I don’t want anybody to see me.”
He takes her to the motel. For an hour she lies face down on the bed, racked by dry sobs. Several times she tells Zacharias she is unready for this tour, she wants to go back to the Cold Town, but he says nothing, simply strokes the tense muscles of her back, and after a while the mood passes. She turns to him and their eyes meet and he touches her and they make love in the fashion of the deads.
Three
Newness is renewal: ad hoc enim venit, ut renovemur in illo; making it new again, as on the first day; herrlich wie am ersten Tag. Reformation, or renaissance; rebirth. Life is Phoenix-like, always being born again out of its own death. The true nature of life is resurrection; all life is life after death, a second life, reincarnation. Totus hic ordo revolubilis testatio est resurrectionis mortuorum. The universal pattern of recurrence bears witness to the resurrection of the dead.
Norman O. Brown: Love’s Body
“The rains shall be commencing shortly, gentleman and lady,” the taxi driver said, speeding along the narrow highway to Zanzibar Town. He had been chattering steadily, wholly unafraid of his passengers. He must not know what we are, Sybille decided. “Perhaps in a week or two they begin. These shall be the long rains. The short rains come in the last of November and December:”
“Yes, I know,” Sybille said.
“Ah, you have been to Zanzibar before?”
“In a sense,” she replied. In a sense she had been to Zanzibar many times, and how calmly she was taking it, now that the true Zanzibar was beginning to superimpose itself on the template in her mind, on that dream-Zanzibar she had carried about so long! She took everything calmly now: nothing excited her, nothing aroused her. In her former life the delay at the airport would have driven her into a fury: a ten-minute flight, and then to be trapped on the runway twice as long! But she had remained tranquil throughout it all, sitting almost immobile, listening vaguely to what Zacharias was saying and occasionally replying as if sending messages from some other planet. And now Zanzibar, so placidly accepted. In the old days she had felt a sort of paradoxical amazement whenever some landmark familiar from childhood geography lessons or the movies or travel posters—the Grand Canyon, the Manhattan skyline, Taos Pueblo—turned out in reality to look exactly as she imagined it would; but now here was Zanzibar, unfolding predictably and unsurprisingly before her, and she observed it with a camera’s cool eye, unmoved, unresponsive.
The soft, steamy air was heavy with a burden of perfumes, not only the expected pungent scent of cloves but also creamier fragrances which perhaps were those of hibiscus, frangipani, jacaranda, bougainvillaea, penetrating the cab’s open window like probing tendrils. The imminence of the long rains was a tangible pressure, a presence, a heaviness in the atmosphere: at any moment a curtain might be drawn aside and the torrents would start. The highway was lined by two shaggy green walls of palms broken by tin-roofed shacks; behind the palms were mysterious dark groves, dense and alien. Along the edge of the road was the usual tropical array of obstacles: chickens, goats, naked children, old women with shrunken, toothless faces, all wandering around untroubled by the taxi’s encroachment on their right-of-way. On through the rolling flatlands the cab sped, out onto the peninsula on which Zanzibar Town sits. The temperature seemed to be rising perceptibly minute by minute; a fist of humid heat was clamping tight over the island. “Here is the waterfront, gentleman and lady,” the driver said. His voice was an intrusive hoarse purr, patronizing, disturbing. The sand was glaringly white, the water a dazzling glassy blue; a couple of dhows moved sleepily across the mouth of the harbor, their lateen sails bellying slightly as the gentle sea breeze caught them. “On this side, please—” An enormous white wooden building, four stories high, a wedding cake of long verandahs and cast-iron railings, topped by a vast cupola. Sybille, recognizing it, anticipated the driver’s spiel, hearing it like a subliminal pre-echo: “Beit al-Ajaib, the House of Wonders, former government house. Here the Sultan was often make great banquets, here the famous of all Africa came homaging. No longer in use. Next door the old Sultan’s Palace, now Palace of People. You wish to go in House of Wonders? Is open: we stop, I take you now.”
“Another time,” Sybille said faintly. “We’ll be here awhile.”
“You not here just a day like most?”
“No, a week or more. I’ve come to study the history of your island. I’ll surely visit the Bett al-Ajaib. But not today.”
“Not today, no. Very well: you call me, I take you anywhere. I am Ibuni.” He gave her a gallant toothy grin over his shoulder and swung the cab inland with a ferocious lurch, into the labyrinth of winding streets and narrow alleys that was Stonetown, the ancient Arab quarter.
All was silent here. The massive white stone buildings presented blank faces to the streets. The windows, mere slits, were shuttered. Most doors—the famous paneled doors of Stonetown, richly carved, studded with brass, cunningly inlaid, each door an ornate Islamic masterpiece—were closed and seemed to be locked. The shops looked shabby, and the small display windows were speckled with dust. Most of the signs were so faded Sybille could barely make them out:
premchand’s emporium
monji’s curios
abdullah’s brotherhood store
motilal’s bazaar
The Arabs were long since gone from Zanzibar. So were most of the Indians, though they were said to be creeping back. Occasionally, as it pursued its intricate course through the maze of Stonetown, the taxi passed elongated black limousines, probably of Russian or Chinese make, chauffeur-driven, occupied by dignified self-contained dark-skinned men in white robes. Legislators, so she supposed them to be, en route to meetings of state. There were no other vehicles in sight, and no pedestrians except for a few women, robed entirely in black, hurrying on solitary errands. Stonetown had none of the vitality of the countryside; it was a place of ghosts, she thought, a fitting place for vacationing deads. She glanced at Zacharias, who nodded and smiled, a quick quirky smile that acknowledged her perception and told her that he too had had it. Communication was swift among the deads and the obvious rarely needed voicing.
The route to the hotel seemed extraordinarily involuted, and the driver halted frequently in front of shops, saying hopefully, “You want brass chests, copper pots, silver curios, gold chains from China?” Though Sybille gently declined his suggestions, he continued to point out bazaars and emporiums, offering earnest recommendations of quality and moderate price, and gradually she realized, getting her bearings in the town, that they had passed certain corners more than once. Of course: the driver must be
in the pay of shopkeepers who hired him to lure tourists.
“Please take us to our hotel,” Sybille said, and when he persisted in his huckstering—”Best ivory here, best lace”—she said it more firmly, but she kept her temper. Jorge would have been pleased by her transformation, she thought; he had all too often been the immediate victim of her fiery impatience. She did not know the specific cause of the change. Some metabolic side-effect of the rekindling process, maybe, or maybe her two years of communion with Guidefather at the Cold Town, or was it, perhaps, nothing more than the new knowledge that all of time was hers, that to let oneself feel hurried now was absurd?
“Your hotel is this,” Ibuni said at last.
It was an old Arab mansion—high arches, innumerable balconies, musty air, electric fans turning sluggishly in the dark hallways. Sybille and Zacharias were given a sprawling suite on the third floor, overlooking a courtyard lush with palms, vermilion nandi, kapok trees, poinsettia, and agapanthus. Mortimer, Gracchus, and Nerita had long since arrived in the other cab and were in an identical suite one floor below. “I’ll have a bath,” Sybille told Zacharias. “Will you be in the bar?”
“Very likely. Or strolling in the garden.”
He went out. Sybille quickly shed her travel-sweaty clothes. The bathroom was a Byzantine marvel, elaborate swirls of colored tile, an immense yellow tub standing high on bronze eagle-claw-and-globe legs. Lukewarm water dribbled in slowly when she turned the tap. She smiled at her reflection in the tall oval mirror. There had been a mirror somewhat like it at the rekindling house. On the morning after her awakening, five or six deads had come into her room to celebrate with her her successful transition across the interface, and they had had that big mirror with them; delicately, with great ceremoniousness, they had drawn the coverlet down to show herself to her in it, naked, slender, narrow-waisted, high-breasted, the beauty of her body unchanged, marred neither by dying nor by rekindling, indeed enhanced by it, so that she had become more youthful-looking and even radiant in her passage across that terrible gulf.
Trips: The Collected Stories of Robert Silverberg, Volume Four Page 36
