Stranger in a Strange Land (by Laura Boudreau)Created by 49thShelf on September 28, 2011
"Min was stranded in her bed, hooked on the blue torpedoes and convinced that a million silver cars were closing in on her (I didn't know what Thebes meant either), Logan was in trouble at school, something about the disturbing stories he was writing, Thebes was pretending to be Min on the phone with his principal, the house was crumbling around t …
yeah, so things have fallen apart. A few weeks ago I got a collect call from my niece, Thebes, in the middle of the night, asking me to please come back to help with Min. She told me she’d been trying to take care of things but it wasn’t working any more. Min was stranded in her bed, hooked on blue torpedoes and convinced that a million silver cars were closing in on her (I didn’t know what Thebes meant either), Logan was in trouble at school, something about the disturbing stories he was writing, Thebes was pretending to be Min on the phone with his principal, the house was crumbling around them, the back screen door had blown off in the wind, a family of aggressive mice was living behind the piano, the neighbours were pissed off because of hatchets being thrown into their yard at all hours (again, confusing, something to do with Logan) . . . basically, things were out of control. And Thebes is only eleven.
I told her I’d be there as soon as I could. I had no choice. There was no question. Our parents are dead. Min didn’t have anybody else. And in just about every meaningful way, neither did I. Admittedly, I would have preferred to keep roaming around Paris pretending to be an artist with my moody, adjective-hating boyfriend, Marc, but he was heading off to an ashram in India anyway and said we could communicate telepathically. I tried it a couple of days before he left. I love you, don’t go, I said silently, without moving my lips. He was standing next to me, trying to photograph a gargoyle. You’re a little in my way, he said. Can you move? No amount of telepathy worked with him, but maybe you have to be thousands of miles away from someone in order for your thoughts to work up the speed and velocity required to hit their target.
At the airport, Thebes came running over to me dressed entirely in royal blue terry cloth, short shorts and cropped top, and covered in some kind of candy necklace powder. The empty elastic was still around her throat. Or maybe she wore that thing all the time. She had fake tattoos all over her arms and her hair was intense purple, matted and wild, and she melted into me when I put my arms around her and tried to lift her off the ground.
Hey, you crazy kid, I said. How are you? She couldn’t talk because she was crying too hard. How are you, Thebie? I asked again. How are things? I didn’t have to ask her. I had a pretty good idea. I let her wrap herself around me and then I carried her over to a plastic airport chair, sat down with her sprawled in my lap, all arms and legs, like a baby giraffe, and let her cry.
How’s the songwriting going? I finally whispered in her ear. I really liked that line . . . take a verse, Mojo . . . you know? I said. She was always e-mailing me her lyrics and cc’ing David Geffen on them.
She frowned. She wiped the snot off her face with the back of her hand, then onto her shorts. I’m more into martial arts now, and yo-yoing, she said. I need to get out of my head.
Yeah, I said. Using your kung fu powers for good?
Well, she said, I feel good when I flip people.
Hey, I said, where’s your brother?
She told me he was outside waiting in the van because he didn’t know how to work the parking and also he didn’t actually have his driver’s licence, only his learner’s, he’s fifteen, he’s all jacked up on rebellion and whatever, he just wanted to wait in the van and listen to his music.
We headed for the exit and kind of stumbled around, falling over each other. Thebes kept her arm wrapped around my waist and tried to help me with my bag. All I had was one large backpack. I didn’t know how long I’d be staying but it didn’t really matter anyway. I’d lost my boyfriend and didn’t care about my job and there was no reason to go back to Paris. I didn’t own anything besides books, and Marc could keep those if he wanted to.
It was sunny and warm and the sky was a sharp, cartoony blue compared to the wet clay skies of Paris, and there was Logan sitting in their beat-up van staring straight ahead at something, not us, music blasting from inside, like the van was a giant Marshall amp. Thebes ran up to the van and threw herself against the windshield. Logan snapped out of his rock ’n’ roll reverie for a second and smiled. Then he got out of the van and walked, glided, over to me and gave me a big hug with one arm and asked me how it was going.
All right, I said, how about you?
Mmmm, he said. He shrugged.
Hey, what’s this? I asked him. I grabbed his arm and squeezed his bicep.
Yeah, right, said Thebes.
And, dude, your pants! I said. Did you steal them from Andre the Giant? I snapped the elastic band on his boxers. Logan opened the door to the van and threw my stuff in.
How was Paris? he asked.
What? I said. Oh, Paris?
Yeah, he said. How was it?
Thebes turned down the volume on the music. Then she told me I should drive instead of Logan. She said she’d been planning her funeral on the way there.
I got dumped, I said.
No way! said Logan.
Well, yeah, I said.
You can’t get dumped in Paris, said Logan. Isn’t it supposed to be all–
By a guy or a girl? asked Thebes.
A guy, I said.
Logan stared hard at Thebes for a few seconds. He said you were gay, she said.
No I didn’t, said Logan.
You totally did! said Thebes.
Okay, Thebes, listen, said Logan. I didn’t–
Hey, I said. It’s okay. It really doesn’t matter. Really. But it was a guy.
But you’re not that old, said Thebes, right? You can still find someone if you look hard. How old are you?
Twenty-eight, I said.
Okay, twenty-eight, she said. She thought for a second. You have like two years, she said. Maybe you should dress up more, though.
Logan ended up driving back to their house because I didn’t know how to tell him not to and because he hadn’t seemed interested in relinquishing control of the wheel anyway. Logan and Thebes yelled at each other all the way back, the music cranked the whole time.
Thebes: Stay in your lane, moron!
Logan: Don’t lose your fucking shit, man!
Thebes: I don’t want to die, loser! Use two hands!
Logan: Do NOT grab the steering wheel!
Then Thebes went into this strange kind of commentary thing she does, quoting the imaginary people in her head. This time it was a funeral director, I think. She said: With an impact this severe there is not a hope of reconstructing this kid’s face. She banged the back window with her fist.
What was that? I asked her.
The lid of my coffin slamming down, she said. Closed casket. I’ll be unrecognizable anyway.
It was great to see the kids again. They’d changed a bit, especially Logan. He was a young man now, not a child. More on his mind, maybe, but with less compulsion to share it. Thebes was more manic than the last time I’d seen her. I knew what that was about. It’s hard not to get a little hysterical when you’re trying desperately to keep somebody you love alive, especially when the person you’re trying to save is ambivalent about being saved. Thebes reminded me of myself when I was her age, rushing home from school ahead of Min so I could create the right vibe, a mood of happiness and fun that would sustain her for another day, or so I thought. I’d mentally rehearse what I thought were amusing anecdotes to entertain her, make her laugh. I didn’t know then that all my ridiculous efforts only brought her further down. Sometimes she would laugh or applaud half-heartedly, but it was always with an expression that said, yeah, whatever, Hattie, nice try, but everything is bullshit.
My birth triggered a seismic shift in my sister’s life. The day I was born she put her dress on backwards and ran away towards a brighter future, or possibly towards a brighter past. Our parents found her in a tree next door. Had she been planning to jump? She’s been doing that ever since, travelling in two opposite directions at once, towards infancy and death. I don’t know exactly what it was about me. By all accounts before I existed Min was a normal little girl, normal enough. She could pick a direction and stick with it. Our family photo albums are filled, halfway, with shots of Min laughing and smiling and enjoying life. And then, suddenly, I’m in the picture and Min’s joy evaporates. I’ve spent hours staring at those photos trying to understand my sister. Even in the ones in which I don’t appear it’s easy to see by Min’s expression that I am just beyond the lens, somewhere nearby.
Min’s had good days, some inexplicable breaks from the madness, periods of time where she functions beautifully and life is as smooth as glass, almost. The thing I remember most clearly about Cherkis, Thebes’s and Logan’s dad, is how nuts he was about Min and how excited he’d get when Min was on the up-and-up, taking care of business and acting normal. I liked that about him, but it also broke my heart because he had no idea of the amount of shit that was about to fly. Eventually, though, he did come to understand, and he did what I did, and what so many others in her life have done.
Min had a vague notion of where he’d gone. At first it was Tokyo, about as far away as you can get from here without being on your way back. He moved around the Pacific Rim, and then Europe for a while, South America, and then South Dakota. He’d call sometimes to see how the kids were doing, how Min was doing, if she wanted him to come back. No, she didn’t, she said, every time. And if he tried to take the kids she’d kill herself for real. We didn’t know whether this was a bluff or not, but nobody wanted to challenge it. They were all she had, she told him. Cherkis wasn’t the type of guy to hire a lawyer and fight for custody. He told Min he’d wait until the kids were old enough to decide for themselves and take things from there. He didn’t want to rock Min’s boat. He didn’t want anybody getting hurt.
I moved to Paris, fled Min’s dark planet for the City of Lights. I didn’t want to leave her and the kids but the truth is she scared me and I thought she might be better off without me, too. Especially if I was the embodiment of her particular anguish. It had been hard to know whether to stay or go.
It’s impossible to move through the stages of grief when a person is both dead and alive, the way Min is. It’s like she’s living permanently in an airport terminal, moving from one departure lounge to another but never getting on a plane. Sometimes I tell myself that I’d do anything for Min. That I’d do whatever was necessary for her to be happy. Except that I’m not entirely sure what that would be.
So the next best thing to being dead was being far away, at least as far as Paris. I had a boyfriend, Marc, and a job in a bookstore, and occasionally I’d go home, back to Manitoba, to Min and Thebes and Logan, for Christmas or the odd birthday, or to help with Min if she was in a really bad patch, but of course that was complicated because I never knew whether I should be there or not.
I wanted to be an artist, in Paris, or a psychiatrist. Sometimes I’d haul a giant pad of sketch paper and some charcoal pencils to the square in front of the Louvre or wherever the tourists were and I’d offer to sketch them for free. I didn’t feel right about charging anybody, because I wasn’t really doing a good job. In every sketch, it didn’t matter if I was drawing the face of a man or a woman or a kid, I’d include a detail from Min’s face, from what I could remember at that precise moment. Sometimes it was the shape of her eyebrows, or her wide lips, or a constellation of tiny freckles, or even just a shadow beneath the cheekbone. The people I sketched were always slightly confused and disappointed when I showed them my work, I could tell, but most of them were kind, especially because I didn’t expect any payment.
Our father died in a drowning accident in Acapulco when Min and I were kids. He drowned trying to save us. We’d been racing and had swum out farther than we should have and Min had started panicking, screaming for help. The current was strong and we couldn’t get back to the shore no matter how hard we pushed against the water. I remember yelling at Min to move sideways and to let go of me. After that, my memory of events is blurry. I have a feeling that Min was pushing me down, under water. I think that I remember her hand on my head, or on my shoulder, but maybe I’m wrong. Our mother told us that Dad had heard our screams and had swum out to get us, but that he too had got caught in the undertow and disappeared. They said it was a riptide. Other people on the beach eventually grabbed a boat from somewhere and rescued us, but by then Dad was gone. Min was fifteen and I was nine. They left us lying in the sun on the beach, crying and vomiting up salt water, while they searched for him.
From the Hardcover edition.
A stunning and provocative new novel by the internationally celebrated author of The Blind Assassin, winner of the Booker Prize.
Margaret Atwood’s new novel is so utterly compelling, so prescient, so relevant, so terrifyingly-all-too-likely-to-be-true, that readers may find their view of the world forever changed after reading it. This is Margaret …
Snowman wakes before dawn. He lies unmoving, listening to the tide coming in, wave after wave sloshing over the various barricades, wish-wash, wish-wash, the rhythm of heartbeat. He would so like to believe he is still asleep.
On the eastern horizon there's a greyish haze, lit now with a rosy, deadly glow. Strange how that colour still seems tender. The offshore towers stand out in dark silhouette against it, rising improbably out of the pink and pale blue of the lagoon. The shrieks of the birds that nest out there and the distant ocean grinding against the ersatz reefs of rusted car parts and jumbled bricks and assorted rubble sound almost like holiday traffic.
Out of habit he looks at his watch - stainless-steel case, burnished aluminum band, still shiny although it no longer works. He wears it now as his only talisman. A blank face is what it shows him: zero hour. It causes a jolt of terror to run through him, this absence of official time. Nobody nowhere knows what time it is.
"Calm down," he tells himself. He takes a few deep breaths, then scratches his bug bites, around but not on the itchiest places, taking care not to knock off any scabs: blood poisoning is the last thing he needs. Then he scans the ground below for wildlife: all quiet, no scales and tails. Left hand, right foot, right hand, left foot, he makes his way down from the tree. After brushing off the twigs and bark, he winds his dirty bedsheet around himself like a toga. He's hung his authentic-replica Red Sox baseball cap on a branch overnight for safekeeping; he checks inside it, flicks out a spider, puts it on.
He walks a couple of yards to the left, pisses into the bushes. "Heads up," he says to the grasshoppers that whir away at the impact. Then he goes to the other side of the tree, well away from his customary urinal, and rummages around in the cache he's improvised from a few slabs of concrete, lining it with wire mesh to keep out the rats and mice. He's stashed some mangoes there, knotted in a plastic bag, and a can of Sveltana No-Meat Cocktail Sausages, and a precious half-bottle of Scotch - no, more like a third - and a chocolate-flavoured energy bar scrounged from a trailer park, limp and sticky inside its foil. He can't bring himself to eat it yet: it might be the last one he'll ever find. He keeps a can opener there too, and for no particular reason an ice pick; and six empty beer bottles, for sentimental reasons and for storing fresh water. Also his sunglasses; he puts them on. One lens is missing but they're better than nothing.
He undoes the plastic bag: there's only a single mango left. Funny, he remembered more. The ants have got in, even though he tied the bag as tightly as he could. Already they're running up his arms, the black kind and the vicious little yellow kind. Surprising what a sharp sting they can give, especially the yellow ones. He rubs them away.
"It is the strict adherence to daily routine that tends towards the maintenance of good morale and the preservation of sanity," he says out loud. He has the feeling he's quoting from a book, some obsolete, ponderous directive written in aid of European colonials running plantations of one kind or another. He can't recall ever having read such a thing, but that means nothing. There are a lot of blank spaces in his stub of a brain, where memory used to be. Rubber plantations, coffee plantations, jute plantations. (What was jute?) They would have been told to wear solar topis, dress for dinner, refrain from raping the natives. It wouldn't have said raping. Refrain from fraternizing with the female inhabitants. Or, put some other way . . .
He bets they didn't refrain, though. Nine times out of ten.
"In view of the mitigating," he says. He finds himself standing with his mouth open, trying to remember the rest of the sentence. He sits down on the ground and begins to eat the mango.
On the white beach, ground-up coral and broken bones, a group of the children are walking. They must have been swimming, they're still wet and glistening. They should be more careful: who knows what may infest the lagoon? But they're unwary; unlike Snowman, who won't dip a toe in there even at night, when the sun can't get at him. Revision: especially at night.
He watches them with envy, or is it nostalgia? It can't be that: he never swam in the sea as a child, never ran around on a beach without any clothes on. The children scan the terrain, stoop, pick up flotsam; then they deliberate among themselves, keeping some items, discarding others; their treasures go into a torn sack. Sooner or later - he can count on it - they'll seek him out where he sits wrapped in his decaying sheet, hugging his shins and sucking on his mango, in under the shade of the trees because of the punishing sun. For the children - thick-skinned, resistant to ultraviolet - he's a creature of dimness, of the dusk.
Here they come now. "Snowman, oh Snowman," they chant in their singsong way. They never stand too close to him. Is that from respect, as he'd like to think, or because he stinks?
(He does stink, he knows that well enough. He's rank, he's gamy, he reeks like a walrus - oily, salty, fishy - not that he's ever smelled such a beast. But he's seen pictures.)
Opening up their sack, the children chorus, "Oh Snowman, what have we found?" They lift out the objects, hold them up as if offering them for sale: a hubcap, a piano key, a chunk of pale-green pop bottle smoothed by the ocean. A plastic BlyssPluss container, empty; a ChickieNobs Bucket O'Nubbins, ditto. A computer mouse, or the busted remains of one, with a long wiry tail.
Snowman feels like weeping. What can he tell them? There's no way of explaining to them what these curious items are, or were. But surely they've guessed what he'll say, because it's always the same.
"These are things from before." He keeps his voice kindly but remote. A cross between pedagogue, soothsayer, and benevolent uncle - that should be his tone.
"Will they hurt us?" Sometimes they find tins of motor oil, caustic solvents, plastic bottles of bleach. Booby traps from the past. He's considered to be an expert on potential accidents: scalding liquids, sickening fumes, poison dust. Pain of odd kinds.
"These, no," he says. "These are safe." At this they lose interest, let the sack dangle. But they don't go away: they stand, they stare. Their beachcombing is an excuse. Mostly they want to look at him, because he's so unlike them. Every so often they ask him to take off his sunglasses and put them on again: they want to see whether he has two eyes really, or three.
"Snowman, oh Snowman," they're singing, less to him than to one another. To them his name is just two syllables. They don't know what a snowman is, they've never seen snow.
It was one of Crake's rules that no name could be chosen for which a physical equivalent - even stuffed, even skeletal - could not be demonstrated. No unicorns, no griffins, no manticores or basilisks. But those rules no longer apply, and it's given Snowman a bitter pleasure to adopt this dubious label. The Abominable Snowman - existing and not existing, flickering at the edges of blizzards, apelike man or manlike ape, stealthy, elusive, known only through rumours and through its backward-pointing footprints. Mountain tribes were said to have chased it down and killed it when they had the chance. They were said to have boiled it, roasted it, held special feasts; all the more exciting, he supposes, for bordering on cannibalism.
For present purposes he's shortened the name. He's only Snowman. He's kept the abominable to himself, his own secret hair shirt.
After a few moments of hesitation the children squat down in a half-circle, boys and girls together. A couple of the younger ones are still munching on their breakfasts, the green juice running down their chins. It's discouraging how grubby everyone gets without mirrors. Still, they're amazingly attractive, these children - each one naked, each one perfect, each one a different skin colour - chocolate, rose, tea, butter, cream, honey - but each with green eyes. Crake's aesthetic.
They're gazing at Snowman expectantly. They must be hoping he'll talk to them, but he isn't in the mood for it today. At the very most he might let them see his sunglasses, up close, or his shiny, dysfunctional watch, or his baseball cap. They like the cap, but don't understand his need for such a thing - removable hair that isn't hair - and he hasn't yet invented a fiction for it.
They're quiet for a bit, staring, ruminating, but then the oldest one starts up. "Oh Snowman, please tell us - what is that moss growing out of your face?" The others chime in. "Please tell us, please tell us!" No nudging, no giggling: the question is serious.
"Feathers," he says.
They ask this question at least once a week. He gives the same answer. Even over such a short time - two months, three? He's lost count - they've accumulated a stock of lore, of conjecture about him: Snowman was once a bird but he's forgotten how to fly and the rest of his feathers fell out, and so he is cold and he needs a second skin, and he has to wrap himself up. No: he's cold because he eats fish, and fish are cold. No: he wraps himself up because he's missing his man thing, and he doesn't want us to see. That's why he won't go swimming. Snowman has wrinkles because he once lived underwater and it wrinkled up his skin. Snowman is sad because the others like him flew away over the sea, and now he is all alone.
"I want feathers too," says the youngest. A vain hope: no beards on the men, among the Children of Crake. Crake himself had found beards irrational; also he'd been irritated by the task of shaving, so he'd abolished the need for it. Though not of course for Snowman: too late for him.
Now they all begin at once. "Oh Snowman, oh Snowman, can we have feathers too, please?"
"No," he says.
"Why not, why not?" sing the two smallest ones.
"Just a minute, I'll ask Crake." He holds his watch up to the sky, turns it around on his wrist, then puts it to his ear as if listening to it. They follow each motion, enthralled. "No," he says.
"Crake says you can't. No feathers for you. Now piss off."
"Piss off? Piss off?" They look at one another, then at him. He's made a mistake, he's said a new thing, one that's impossible to explain. Piss isn't something they'd find insulting. "What is piss off?"
"Go away!" He flaps his sheet at them and they scatter, running along the beach. They're still not sure whether to be afraid of him, or how afraid. He hasn't been known to harm a child, but his nature is not fully understood. There's no telling what he might do.
"Now I'm alone," he says out loud. "All, all alone. Alone on a wide, wide sea." One more scrap from the burning scrapbook in his head.
He feels the need to hear a human voice - a fully human voice, like his own. Sometimes he laughs like a hyena or roars like a lion - his idea of a hyena, his idea of a lion. He used to watch old DVDs of such creatures when he was a child: those animal-behaviour programs featuring copulation and growling and innards, and mothers licking their young. Why had he found them so reassuring?
Or he grunts and squeals like a pigoon, or howls like a wolvog: Aroo! Aroo! Sometimes in the dusk he runs up and down on the sand, flinging stones at the ocean and screaming, Shit, shit, shit, shit, shit! He feels better afterwards.
He stands up and raises his arms to stretch, and his sheet falls off. He looks down at his body with dismay: the grimy, bug-bitten skin, the salt-and-pepper tufts of hair, the thickening yellow toenails. Naked as the day he was born, not that he can remember a thing about that. So many crucial events take place behind people's backs, when they aren't in a position to watch: birth and death, for instance. And the temporary oblivion of sex.
"Don't even think about it," he tells himself. Sex is like drink, it's bad to start brooding about it too early in the day.
He used to take good care of himself; he used to run, work out at the gym. Now he can see his own ribs: he's wasting away. Not enough animal protein. A woman's voice says caressingly in his ear, Nice buns! It isn't Oryx, it's some other woman. Oryx is no longer very talkative.
"Say anything," he implores her. She can hear him, he needs to believe that, but she's giving him the silent treatment. "What can I do?" he asks her. "You know I . . ."
Oh, nice abs! comes the whisper, interrupting him. Honey, just lie back. Who is it? Some tart he once bought. Revision, professional sex-skills expert. A trapeze artist, rubber spine, spangles glued onto her like the scales of a fish. He hates these echoes. Saints used to hear them, crazed lice-infested hermits in their caves and deserts. Pretty soon he'll be seeing beautiful demons, beckoning to him, licking their lips, with red-hot nipples and flickering pink tongues. Mermaids will rise from the waves, out there beyond the crumbling towers, and he'll hear their lovely singing and swim out to them and be eaten by sharks. Creatures with the heads and breasts of women and the talons of eagles will swoop down on him, and he'll open his arms to them, and that will be the end. Brainfrizz.
Or worse, some girl he knows, or knew, will come walking towards him through the trees, and she'll be happy to see him but she'll be made of air. He'd welcome even that, for the company.
He scans the horizon, using his one sunglassed eye: nothing. The sea is hot metal, the sky a bleached blue, except for the hole burnt in it by the sun. Everything is so empty. Water, sand, sky, trees, fragments of past time. Nobody to hear him.
"Crake!" he yells. "Asshole! Shit-for-brains!"
He listens. The salt water is running down his face again. He never knows when that will happen and he can never stop it. His breath is coming in gasps, as if a giant hand is clenching around his chest - clench, release, clench. Senseless panic.
"You did this!" he screams at the ocean.
No answer, which isn't surprising. Only the waves, wish-wash, wish-wash. He wipes his fist across his face, across the grime and tears and snot and the derelict's whiskers and sticky mango juice. "Snowman, Snowman," he says. "Get a life."
From the Hardcover edition.
Lilly, the main character of Camilla Gibb’s stunning new novel, has anything but a stable childhood. The daughter of English/Irish hippies, she was “born in Yugoslavia, breast-fed in the Ukraine, weaned in Corsica, freed from nappies in Sicily and walking by the time [they] got to the Algarve…” The family’s nomadic adventure ends in Tang …
The sun makes its orange way east from Arabia, over a Red Sea, across volcanic fields and desert and over the black hills to the qat- and coffee-shrubbed land of the fertile valley that surrounds our walled city. Night departs on the heels of the hyenas: they hear the sun’s approach as a hostile ringing, perceptible only to their ears, and it drives them back, bloody lipped and panic stricken, to their caves.
In darkness they have feasted on the city’s broken streets: devouring lame dogs in alleyways and licking eggshells and entrails off the ground. The people of the city cannot afford to waste their food, but nor can they neglect to feed the hyenas either. To let them go hungry is to forfeit their role as people on this wild earth, and strain the already tenuous ties that bind God’s creatures.
A hundred years ago, when the city’s gates were still closed at night — the key lodged firmly under the sleeping head of a neurotic emir — the hyenas were the only outsiders permitted access after dark. They would crawl through the drainage portals in the city’s clay walls. But the gates are splayed open now, have been for decades, a symbol of history’s turn against this Muslim outpost, a city of saints and scholars founded by Arabs who brought Islam to Abyssinia in the ninth century, the former capital of an emirate that once ruled for hundreds of miles.
For all the fear they inspire, though, if a hyena must die, one hopes it might do so on one’s doorstep. Pluck its eyebrows, fashion a bracelet, and you are guaranteed protection from buda, the evil eye. Endure the inconvenience of having to step over a hideous corpse baking in the African sun all day, but be assured that by the following morning, thanks to hyenas’ lack of inhibitions regarding cannibalism, the street will once again be licked clean.
As every day begins, the anguished cries of these feral children grow dim against a rising crescendo of birds quibbling in the pomegranate and lime trees of the city’s courtyards. And then the muezzins call: beckoning the city’s sleeping populace with a shower of praise for an almighty God. There are ninety-nine of them within the walls of this tiny city — ninety-nine muezzins for ninety-nine mosques. It takes the culmination of the staggered, near-simultaneous beginnings of a hundred less one to create the particular sound that is heard as Godliness in Harar.
* * * * * * *
“But I don’t want to go among mad people,” Alice remarked.
“Oh, you ca’n’t help that,” said the Cat: “we’re all mad here. I’m mad. You’re mad.”
“How do you know I’m mad?” said Alice.
“You must be,” said the Cat, “or you wouldn’t have come here.”
—Alice’s Adventures in Wonderland, Lewis Carroll
On a wet night in Thatcher’s Britain, a miracle was delivered onto the pockmarked pavement behind a decrepit building once known as Lambeth Hospital. Four women standing flanked by battered rubbish bins looked up to a close English sky and thanked Allah for this sign of his generosity. Two women ululated, one little boy, shy and tired, buried his face in his mother’s neck, and one baby stamped with a continent-shaped mole tried out her lungs. Her wail was mighty and unselfconscious, and with it, she announced that we had all arrived in England. None of us had hitherto had the confidence to be so brazen.
I was one of those four women. I trained in this God-forsaken building, a gothic nightmare of a place, a former workhouse where the poor were imprisoned and divided — men from women, aged and infirm from able bodied, able-bodied good from able-bodied bad — each forced to break a daily quota of stone in order to earn their keep. Adjacent is the old infirmary, which once had its own Register of Lunatics, among them a woman named Hannah Chaplin diagnosed with acute psychosis resulting from syphilis while in residence there with her seven-year-old son Charlie, some eighty years ago.
I don’t share this history though I’ve moved within its walls. In the places I have lived, the aged and the infirm and the psychotic are not separated from the rest of us. They are part of us. I don’t share this history, but as a child, I did see a Charlie Chaplin film in a cinema in Tangier through the smoke of a hundred cigarettes. I sat cross-legged between my parents on a wooden bench, a carpet of peanut shells at our feet, the audience roaring with laughter, united by the shared language of bodies without words.
Amazing that humour could ever be borne of this place. The building now stands condemned, slated for demolition, and I work at South Western, a hospital largely catering to the poor from the beleaguered housing estates in the surrounding areas: the mentally ill, the drug addicted, the unemployed white, the Asian and Afro-Caribbean immigrants and the refugees and asylum seekers, the latest wave of which has been rolling in from torn parts of East Africa, principally Eritrea and Sudan.
Many of these claimants avoid the hospital, overwhelmed or intimidated as they are by the agents and agencies of the state — the customs officers, police, civil servants, lawyers, social workers and doctors — with their unreadable expressions and their unreadable forms. I know this, because they are my neighbours. I encounter them in the elevator, in the laundrette, in the dimly lit concrete corridors of high-rises on the Cotton Gardens Estate. I’ve lived in a one-bedroom council flat on the fourteenth floor of one of these buildings since the autumn of 1974 — compensation for the circumstances of my arrival.
My white face and white uniform give me the appearance of authority in this new world, though my experiences, as my neighbours quickly come to discover, are rooted in the old. I’m a white Muslim woman raised in Africa, now employed by the National Health Service. I exist somewhere between what they know and what they fear, somewhere between the past and the future, which is not quite the present. I can translate the forms for them before kneeling down and putting my forehead to the same ground. Linoleum, concrete, industrial carpet. Five times a day, wherever we might be, however much we might doubt ourselves and the world around us.
I was not always a Muslim, but once I was led into the absorption of prayer and the mysteries of the Qur’an, something troubled in me became still.
Lisa Moore's Open makes you believe three things unequivocally: that St. John's is the centre of the universe, that these stories are about absolutely everything, that the only certainty in life comes from the accumulation of moments which refuse to be contained. Love, mistakes, loss — the fear of all of these, the joy of all of these. The interc …
“It’s an immense night out there, wheeling and windy. The lights on the street and in the houses against the black wetness, little unilluminating glints that might be painted on it. The town seems huddled together, cowering on a high tiny perch, afraid to move lest it topple into the wind.”
The town is Horizon, the setting of Sinclair Ross’ …
Saturday Evening, April 8
Philip has thrown himself across the bed and fallen asleep, his clothes on still, one of his long legs dangling to the floor. . . .
He looks old and worn-out tonight; and as I stood over him a little while ago his face brought home to me how he shrinks from another town, how tired he is, and heartsick of it all. I ran my fingers through his hair, then stooped and kissed him. Lightly, for that is of all things what I mustn’t do, let him ever suspect me of being sorry. He’s a very adult, selfsufficient man, who can’t bear to be fussed or worried over; and sometimes, broodless old woman that I am, I get impatient being just his wife, and start in trying to mother him too.
His sermon for tomorrow is spread out on the little table by the bed, the text that he always uses for his first Sunday. As For Me and My House We Will Serve the Lord. It’s a stalwart, four-square, Christian sermon. It nails his colors to the mast. It declares to the town his creed, lets them know what they may expect. The Word of God as revealed in Holy Writ — Christ Crucified — salvation through His Grace — those are the things that Philip stands for.
And as usual he’s been drawing again. I turned over the top sheet, and sure enough on the back of it there was a little Main Street sketched. It’s like all the rest, a single row of smug, false-fronted stores, a loiterer or two, in the distance the prairie again. And like all the rest there’s something about it that hurts. False fronts ought to be laughed at, never understood or pitied. They’re such outlandish things, the front of a store built up to look like a second storey. They ought always to be seen that way, pretentious, ridiculous, never as Philip sees them, stricken with a look of self-awareness and futility.
That’s Philip, though, what I must recognize and acknowledge as the artist in him. Sermon and drawing together, they’re a kind of symbol, a summing up. The smalltown preacher and the artist — what he is and what he nearly was — the failure, the compromise, the going-on — it’s all there — the discrepancy between the man and the little niche that holds him.
And that hurt too, made me slip away furtively and stand a minute looking at the dull bare walls, my shoulders drawn up round my ears to resist their cold damp stillness. And huddling there I wished for a son again, a son that I might give back a little of what I’ve taken from him, that I might at least believe I haven’t altogether wasted him, only postponed to another generation his fulfillment. A foolish, sentimental wish that I ought to have outgrown years ago — that drove me outside at last, to stand on the doorstep shivering, my lips locked, a spatter of rain in my face.
It’s an immense night out there, wheeling and windy. The lights on the street and in the houses are helpless against the black wetness, little unilluminating glints that might be painted on it. The town seems huddled together, cowering on a high, tiny perch, afraid to move lest it topple into the wind. Close to the parsonage is the church, black even against the darkness, towering ominously up through the night and merging with it. There’s a soft steady swish of rain on the roof, and a gurgle of eavestroughs running over. Above, in the high cold night, the wind goes swinging past, indifferent, liplessly mournful. It frightens me, makes me feel lost, dropped on this little perch of town and abandoned. I wish Philip would waken.
When Gabriel English’s partner Nell doesn’t come home from work one day, he connects with longtime friend David Twombly for a trip back to their hometown in Corner Brook, Newfoundland, where years back all their lives began to unravel with a tragic drowning. As the journey progresses, secrets are unveiled, a friendship is tested, and there is a …
WITH AN INTRODUCTION BY CHARLOTTE GRAY
Roughing It in the Bush, first published in 1852, helped to destroy British illusions about life in Upper Canada. Susanna Moodie described a life of backbreaking labour, poverty, and hardship on a pioneer farm in the colonial wilderness. Her sharp observations, satirical character sketches, and moments of desp …