Poe's Children: The New Horror: An Anthology

by Peter Straub

  The storm subsides and the sounds start up again, the rasp of insects, the calls of birds, the screeching of monkeys.

  Mathew van der Lee inquires if he might accompany Maria Sibylla on a collecting expedition she has planned to the shoreline in the aftermath of the storm. It is his specialty, he tells her, the seashore; he had been a collector himself back in the Netherlands.

  She packs her vellums and her charcoal, her nets and her collecting jars.

  She walks erect and keeps her back straight, her shoes are caked with mud, the bottom of her skirt is wet and dragging.

  It is light. The sun completely broken through. The hills behind the shore heavy with what the winds have brought, invisible but present, the air laden with it.

  “Madame Sibylla,” says Mathew van der Lee. He wears a hat in the style of the day, black felt and rimmed. He wears a jacket also in the style of the day, three-quarters in length and black like the hat, and his shirt is white beneath the jacket. They are on the edge of the shoreline along the Paramaribo coast. Maria Sibylla is walking ahead of him. “Madame Sibylla,” he says again. “You shall outdistance me if you walk so quickly, Madame Sibylla.” He is teasing and young, pleasing and handsome in his white shirt, in his hat, in his jacket.

  Sirs, we sing the creature’s praises! The pede perceives the visual impressions around it, not by means of rows of eyes located down along the sides of its body, but through distinctly tiny simple eyes, ocelli, placed on each side of the head.

  For a minute she is breathless. Her breathlessness exaggerated in the intensity of the heat. It is so hot she almost cannot bear it.

  The Widow Ivenes beckons her to visit in her suite of rooms. The Widow is sitting with a metal plate against her forehead, alternately placing it against the back of her neck. The drapes are drawn. There is a bowl of water on the table by her bed. “I would like to tear these clothes from my body,” the Widow says point-blank to Maria Sibylla.

  Maria Sibylla has come into the Widow’s room with a fan with which she is fanning herself unrestrainedly. It was hand-painted in Italy, but she purchased it in Amsterdam. She offers it as a present to the Widow Ivenes. The Widow takes the fan and heaves and sighs, and heaves and sighs again.

  Only Esther Gabay seems to never mind the heat. She carries on in it with the running of Surimombo. Even during the hottest hours, she carries on in it, just as the slaves carry on in it with their work in the sugar fields.

  The African slaves go about naked. Or mostly naked. The women naked from waist to neck. The young ones with their breasts taut, their skin the deepest browns, their nipples black, like black cherries on the trees back in Holland. The older women stand with their breasts below their waists in the late day sun. There is a dance the African slaves perform and Maria Sibylla has witnessed it—the Winti, or Dance of Possession—their hips roll as they pass the calabash, drink from the bowl, smoke the tobacco, and then here Miss, here Miss, holding out the worm for her to take, here Miss, here Miss…

  That evening there is smoked salmon arrived by ship from Amsterdam. With the salmon is turtle and king fish, grouper and snapper. A beverage is served made of coconut and lime. Hands are washed between courses. The evening meal is like a prayer. Like a service in the church in Paramaribo.

  late at night she hears the doctor snoring, she hears him through the walls of the suites of the house, his breath coming in snorts and gasps.

  and in the eaves around the house—spiders.

  and in her room the smell of the salve she uses to protect her skin. It is something Marta gave her made from the sap of palm leaves. And blood oranges in a bowl. And grapes in another bowl. Her hair is wrapped in cloth. The cloth is cut in strips and woven through her hair. Blood oranges in a bowl next to the grapes.

  and what she feels is the heat. The relentless bruising heat.

  Sirs, it has been thought the thickened lines of wing venation are veins like those that comprise the network of our own fragile bodies, and through which the moth’s blood (made up of a dense white liquid) flows outward each to body parts dependent on receiving it. This proves not the case. The wing venation are solidly composed and act as brace cords for support.

  She is in the small forest behind the Surimombo sugar fields. They call it Surimombo Forest because its edges border the plantation. The light is green and indistinct. Her eyes must make an adjustment. The light filters down through the branches of the trees and through the flowers that grow along the tree trunks. A flatworm glides on a moist trail of sludge on the leaf of a giant acacia. The worm is red and iridescent. When she tries to lift it, it dissolves.

  God stirs. In any case impels. Nettles. On which the creature feeds. The Mora branch. And its leaves. The Yucca with its red fruit.

  Mathew van der Lee has followed her into the small forest where she is working along its edges. It was by chance, he says, that he caught sight of her, from the sugar fields where he had been observing the harvesting technique at Surimombo. He could not resist, he says, but to see after her, to inquire of her while at her work. I have seen many such plants in the botanical gardens in Amsterdam, he says, pointing to the crimson blossoms of the bougainvillea, but none in the gardens compare to these.

  It is said that there were no lovers, only a husband who wound up by menacing—the rumors of his vices—and the whispers of the word cruelty—a husband whom she fled in retaliation and defense. A daring act then, at that time, imagine.

  But history shall have it there was a lover.

  Maria Sibylla is not a child. No. She is a woman already of some years. Though she was little more than a child on the day of her marriage to Johann Graff. But she fled that husband.

  On the 21st day of November in the year 1685, Maria Sibylla gathered what was hers and set out for the Protestant Pietist colony at Friesland, and for the colony’s home at the Castle of Weirweurd, and for the prefect, Petre Yvon, who then presided there. She set out to join those pious men and women who lived each moment in the love of God and in the denial of the worldly influence. She took her vellums, her charcoals, her specimens, some articles of clothing, some personal effects.

  On the morning of the 23rd of November, her husband appeared outside the door of the Castle, where he bellowed out the name of his wife, and where within those walls Maria Sibylla remained silent.

  She was staring out her window when he arrived, thinking of the creatures she might find there, wondering how she might conduct her work from this new home, she was seeing God in all she saw, and trusting in God to direct her.

  Graff sought audience with his wife through the personage of Petre Yvon. He demanded that he be admitted inside the walls of the castle. She is mine, he shouted, mine, I will not let go what is rightfully mine.

  Only silence for reply.

  And though he went down in a rage on his knees and pounded on the rock-strewn ground for three days, eating nothing, and not even drinking water, and though the ground was cold in the strong November chill, and though he made supplication and implored, and beseeched and importuned, and alternately begged and bellowed, she would not yield.

  Tropical sweetness now. Sweeter than the sugar cane. Sweeter than the syrup dripping from the stalks cut and bound for refining. Blinding sun. Blazing heat. Leaves of plants so delicate they wither in the sun.

  Sirs, the female is fussy in her decision as to where to lay her eggs; she grades each leaf for suitability, rejecting one leaf after another before choosing.

  Insects swarm, approaching hungry and curious, the jungle forest stretches before her, sounds, the occasional glimpses of birds. She is on her way to Rama, farther down along the Saramacca. The African slaves walk ahead of her, unsheathing knives flashing, cutting a path through the dense growth of the forest, hacking down the weeds and the saw grass so she can pass through. She has with her bottles half-filled with brandy to preserve dead some of what she finds, but also the mesh cages lined with bolting cloth to take other specimens alive, and to retain for them the
natural conditions of their environment, to study their transformations without interrupting them, to observe for herself all the stages of their development. Her head is covered with a wide-brimmed hat. A few beads of perspiration run down from beneath the hat. She wears a shirt under the makeshift overall that she has sewn for her work in the jungle. The Surimombo slaves call her medicine woman. The women bring her chrysalids that they promise will open into moths, and butterflies more beautiful than any she has ever seen, creatures which will whisper certain truths to her, endow her with certain powers. But everything now has begun to draw her attention. It is no longer simply the larvae, the moths, and the butterflies. Now she wants to know frogs, toads, snakes, and spiders, hummingbirds, the parrots and red monkeys screeching in the trees, the habits of the grasses that grow here, the invisible creatures that inhabit the air.

  Sirs, for each there is the head, the thorax, the abdomen; the surface of the body divided into platelike areas; there are the mouth parts, the antennae, the feet; and the special hairs that are sensitive to sound.

  “Your hands are so delicate, dear,” the Widow Ivenes tells Maria Sibylla that night at supper, “one would never guess from looking at them you are a scientist.”

  Pastries and puddings are brought to the table, jellies and preserved fruits, fruit tarts sitting in transparent syrups, cakes made from nut meats, sweet oranges, yellow pineapples, alligator pears, guava, shaddock.

  After supper Mathew van der Lee asks permission to enter Maria Sibylla’s study. It is in a ground floor room at the rear—attached to but distant from the other rooms of Surimombo. “Mr. van der Lee. Here, come.” Before he is able to say a word, he is directed to a brownish shape in a mesh cage that looks at first as though it might be a curled bit of bark. But then there is the slightest movement. A kind of weaving from side to side, a tear in the wall at one end, a small but violent movement, the tear opening a little larger, and then a little larger still, until a shape is visible inside, pushing forward through the tear, a damp and matted little thing pushing its way through the opening until it has pushed itself fully out, and then sits and rests there for a time. “There, you see,” is all she says.

  Sirs, there is a heart, as well, I have found it lodged in the frontal vessel suspended from the wall of the abdomen. The tiny heart can almost not be seen. But it is, I assure you, there, and it does beat, good sirs, as does our own.

  She is near Para Creek. Marta is with her. They are searching inside the edges of the forest wall, looking for unknown genera of blossoms and strange chrysalises, looking and describing and collecting.

  Marta walks ahead, hacking with a machete at the dense overgrowth, the frequent surfacing of saw grass. She points to a branch on a tree. Maria Sibylla approaches, rapid and silent, ah, yes, ja, ja. There is a red caterpillar with yellow stripes crawling along the top of the branch. It is feeding on the leaves that grow there. The movement of Maria Sibylla’s hand is sure and quick, scooping the caterpillar from the branch and placing it firmly and unharmed in a jar with a bit of the bark and some leaves from the tree. The caterpillar will be brought back to her study to be kept with the others, the numbers of her specimens growing, in jars with mesh tops, in wire cages, in bottles stoppered with cork.

  They turn a corner of the forest into a lush growth of rafflesia, the plant is called the corpse plant because it smells like rotting flesh, the flower is enormous, glowing bright orange, the diameter measured in feet, the thick tubular stem. The Indians extract a liquid from the stem that is used to stop the flow of blood. Marta tells her that it is also used to counteract the bites of snakes, that it quickly reverses the effect of the poison in the bloodstream though the flesh has already grown dark. Marta tells her that the seeds of the peacock flower are used to bring about the menses, that the female slaves swallow the seeds to abort their fetuses, to preserve the unborn child from a life of slavery like their own.

  Branches bend and scrape in the breeze, airy and delicate, twisting and turning, continually changing direction, and the shrill shrieks of the howler monkeys high above, flying, torsos twisting and turning, arms outstretched, teeth bared, panting and screaming.

  The old woman appears as if out of nowhere, she is all bone and sinewy and nerve cells dancing on the coarse, black flesh of her neck and shoulders, and down along her arms, the heavy bracelets on her wrists, the nerve cells dancing into the bones of her fingers. She is speaking in the Creole that the Dutch call Neger-Englen, and Maria Sibylla can understand some of the words: tree, hanging or suspended?, comb, bird. And all the time the old woman is speaking, a sack near her feet is screeching and humping. The old woman reaches inside the sack and firmly holding its neck pulls out a brilliantly colored, huge young macaw. She hands the macaw to Maria Sibylla, who, avoiding its enormous stabbing beak, takes the frantic bird and covers it with a net to calm it. The old woman points to herself and says, Mama Cato, Mama Cato. Maria Sibylla repeats the name, Mama Cato. The old woman wants to trade for the macaw. She points to the sack filled with supplies that is slung over Maria Sibylla’s shoulder, indicating she wants it emptied on the ground. Maria Sibylla tells Marta to take the sack and empty it on the ground. The old woman points to a bright blue piece of salempouri cloth and a green tree frog in a stoppered jar of liquid. Maria Sibylla nods her agreement to the trade. The leave-taking is abrupt; the old woman quickly disappears back into the jungle. Marta steps forward and begins putting everything back inside the sack, while Maria Sibylla continues holding the now-silent macaw.

  Mosquitoes swarm and puncture her skin.

  Beads of blood form on the punctures.

  The blood is trickling where the mosquitoes have bitten.

  And then another and another puncture in her skin.

  Sirs, a most uncommon discovery. A butterfly exactly one half male and the other half female, the rear on one side being male, and on the other female.

  In the Kerkstraat Gardens there had been butterflies, benign creatures, but not so beautiful as these. These are more beautiful, but not benign.

  Somewhere the ants are taking down a tapir. The pig does not stand a chance. As the ants dig in. As the flesh falls away. As the spirit of the beast rushes out through its head. The slight whoosh of sound each time she pins an insect. Her back stiff and straight. Inside the house, the light glows from the candles.

  “I have looked at several cane pieces for farming,” Mathew van der Lee announces during the evening meal. “There are some acres south from here, at the mouth of Sara Creek.”

  “So far to the south, Mr. van der Lee,” the Widow Ivenes responds with alarm. “We will never see you if you move so far to the south.”

  “You will visit often, Widow Ivenes, and spend your time much as you like.”

  “The Sara Creek region is not thought safe, Mr. van der Lee,” says Esther Gabay. “The runaways are settled near to there.”

  “It is said the numbers of the runaways are few, Madame Gabay.”

  “The numbers may be few, Mr. van der Lee,” says Esther Gabay, “but the assaults on the sugar farms are many.”

  “And the expeditions of our soldiers fail most often in their efforts to recapture them,” adds Doctor Peter Kolb.

  “But there are slaves recaptured every day, Doctor Kolb,” says Mathew van der Lee.

  “And every day there are more runaways,” counters the Doctor, “and more violence against the plantations.”

  “The violence is not likely to continue,” insists Mathew van der Lee. “How many slaves will risk the punishments if caught?—the beatings, the mutilations. There is one of your colleagues in Paramaribo, Doctor Kolb, whose job it is to amputate limbs from recaptured runaways.”

  “The punishments do not deter the runaways,” says Doctor Peter Kolb. “Their sensibility is not as ours, Mr. van der Lee.”

  “I am not persuaded of that view,” says Mathew van der Lee.

  “Nor am I, I would agree, Mr. van der Lee,” says the Widow Ivenes. And then turning t
o Maria Sibylla, “What has science to say on the subject?”

  “It seems not a matter for science, dear Widow Ivenes.”

  “What of your work then?” The Widow persists in drawing Maria Sibylla into the conversation.

  “My work progresses, Widow Ivenes.”

  “And extraordinary work it is, Madame Sibylla,” says the Widow.

  “What is extraordinary,” says Esther Gabay, “is that so much effort should be taken in the interest of insects.”

  “There is greater fortune to be made in sugar cane,” says Doctor Peter Kolb.

  “My interest here is not in sugar, Doctor Kolb.”

  “Madame Sibylla’s interest is to witness nature and not to mine for its material potentiality,” says Mathew van der Lee, staring openly at Maria Sibylla. “She is an artist and a scientist, Doctor Kolb, and those are the interests which occupy her. Much as my own interest in collecting has occupied me. It is true I now seek fortune here in sugar, but I have not lost interest in the creatures of the natural world.”