скачать книгу бесплатно
Pheko is very young; he must be newly hired. He looks as if he is barely older than Luvo is now. He wears an ironed white shirt and his eyes seem to fill with dread as he concentrates on her instructions.
“Yes, madam,” he says several times. Alma disappears. When she returns, what might be an hour later, Harold in tow, Pheko has put practically every book on the shelves in Harold’s office upside-down. Alma walks very close to the shelves. She tilts a couple of titles toward her, then sets them back down. “Well, these aren’t in any kind of order at all,” she says.
Confusion ripples through Pheko’s face. Harold laughs.
Alma looks back to the bookshelves. “The boy can’t read,” she says.
Luvo cannot turn Alma’s head to look at Pheko; Pheko is a ghost, a smudge outside her field of vision. But he can hear Harold behind her, his voice still smiling. He says, “Not to worry, Pheko. Everything can be learned. You’ll do fine here.”
The memory dims; Luvo unscrews the headgear and hangs the little beige cartridge back on the nail from which he plucked it. Out in the garden the palms clatter in the wind. Soon the house will be sold, Luvo thinks, and the cartridges will be returned to the doctor’s office, or sent along with Alma to whatever place they’re consigning her to, and this strange assortment of papers will be folded into a trash bag. The books and appliances and furniture will be sold off. Pheko will be sent home to his son.
Luvo shivers. He thinks of Harold’s fossils downstairs, waiting in their cabinet. He can hear Chefe Carpenter’s voice as he showed Luvo several smooth, heavy teeth that he said belonged to a mosasaur, hacked out of a chalk pit in Holland. “Science,” Chefe had said, “is always concerned with context. But what about beauty? What about love? What about feeling a deep humility at our place in time? Where’s the room for that?”
“You find what you’re looking for,” Chefe had said to them before they left, “you know where to bring it.”
Hope, belief. Failure or success. As soon as they stepped outside Chefe’s gate, Roger had lit a cigarette and started taking shaky, hungry pulls.
Luvo stands in Alma’s upstairs bedroom in the middle of the night and hears Harold Konachek whispering as if from the grave: We all swirl slowly down into the muck. We all go back to the mud. Until we rise again in ribbons of light.
This wind, Luvo realizes, right now careering around Alma’s garden, has come to Cape Town every November that he can remember, and every November Alma can remember, and it will come next November, too, and the next, and on and on, for centuries to come, until everyone they have ever known and everyone they ever will know is gone.
DOWNSTAIRS
Three eggs steam on a towel in front of Alma. She cracks one open. Out the window the sky and ocean are very dark. The tall man with the huge hands is waving his fingers around in her kitchen. “Running out of time,” he says. “You and me together, old lady.”
He begins stalking the kitchen, pacing back and forth. The balcony rails moan in the wind, or else it’s the wind moaning, or the wind and railing together, her ears unable to unbraid the two. The tall man raises a hand to the cigarette in his hatband and puts it between his lips, unlit. “You probably think you’re a hero,” he says. “Up there waving your sword against a big old army.”
Roger waves an imaginary sword, slashing it through the air. Alma tries to ignore him, tries to focus on the warm egg in her fingers. She wishes she had some salt but does not see a shaker anywhere.
“But you losing. You losing bad. You losing and you going to end up just like all them other old, rich junkies—you going to blitz out, zone out, drift away, feed yourself a steady stream of those memories. Until there’s nothing left of you at all. Aren’t you? You’re just a tube now, hey, Alma? Just a bleeding tube. Put something in the top and it drops right out the bottom.”
In Alma’s hand is an egg she has evidently just peeled. She eats it slowly. In the face of the man in front of her something suppressed is flickering and showing itself, an anger, a lifelong contempt. Without turning her head she has the sense that out there in the darkness beyond her kitchen windows something terrible is advancing toward her.
“And what about the houseboy?” the tall man is saying. She wishes he would stop talking. “From one angle it probably has the look of sacrifice. Oh, a good boy, fit, speaks English, disease-free, got himself a little piccanin, rides ten miles each way on the bus from the townships to the suburbs to make tea, water the garden, comb out her wigs. Fill the refrigerator. Clip her fingernails. Fold her old-lady underthings. Apartheid’s over and he’s doing women’s work. A saint. A servant. Am I right?”
Two more eggs sit in front of Alma. Her heart is opening and closing very quickly in her chest. The tall black man is wearing his hat indoors. A sentence from Treasure Island comes back to her, as if from nowhere: Their eyes burned in their heads; their feet grew speedier and lighter; their whole soul was bound up in that fortune, that whole lifetime of extravagance and pleasure, that lay waiting there for each of them.
Roger is tapping his temple with one finger. His eyes are whirlpools into which she must not look. I am not here, Alma thinks.
“But from another angle what does it look like?” the man is saying. “Houseboy lets himself in the gate, through the door, watches you dodder about, moves beyond the edges of your memory. Lined up for his inheritance, surely. Fingers in the till. He eats the sausages, too, doesn’t he? Probably pays the bills. He knows the kind of money you’re spending with that doctor.”
“Stop talking,” says Alma. She thinks, I am not here. I am not anywhere.
“I did it to the boy,” he says. “I can tell you, you don’t even know what I’m saying. I found him in the Company Gardens and who was he? Just an orphan. I paid for the operation. I fed him, I took care of him. I brought him back. I keep him healthy, don’t I? I let him wander around.”
The headlights of a passing car swing through the yard, drain through the trees. Alma’s fear rises into her throat. The headlights fade. The wind flies over the house.
“Stop talking right now,” she says.
“You eat now,” says Roger. “You eat and I’ll stop talking and the boy upstairs will find what I’m looking for and then you can go die in peace.”
She blinks. For a moment the man in her kitchen has transformed into a demon: imperious, towering; he peers down at her from beneath a limestone brow. He is waving his terrible hands.
“We all have a gorgon in here,” the demon says. He points to his chest.
“I know who you are.” She says this quietly and with great intensity. “I see you for what you are.”
“I bet you do,” says Roger.
NIGHTMARE
In a nightmare Alma finds herself in the fossil exhibit she went to with Harold fifty years before. All the gallery’s overhead lights have been switched off. The only illumination comes from sweeping, powder-blue beams that slice through the room, catching each skeleton in turn and leaving it again in darkness, as if strange beacons are revolving in the lawns outside the high windows.
The gorgon Harold was so excited about is no longer there. The iron brace that supported the skeleton remains, and a silhouette of dust marks where it stood. But the gorgon is gone.
Alma’s heart quickens; her breath catches. Her hands are at her sides, but in the dream she can feel herself clawing at her own throat.
A column of blue light, swinging through the arcade of museum windows, shows cobwebs, shows the skeletal monsters in their various postures, shows the empty pedestal, shows Alma. Shadows rear up and are sucked back into darkness. The roof above her makes oceanic groans. The purpose of her errand veers past her, there, then gone.
Then she sees. In the window looms a demon. Nostrils, a jaw, a face chalked white with dry skin, and two yellow canine incisors, each as long as her forearms, extend from a scaly pink gum. It exhales through its wet, reptilian nose; twin ovals of vapor cloud the window. Saliva hangs from its lower jaw in pendulous bobs. The light veers past; the beast ducks lower. Its pleated throat convulses; it peers at her with one eye, spider-webbed with filigrees of blood vessels, whole tiny river systems trundling blood deeper and deeper into the yellow of its eyeball, unknowable, terrible, wet—it is a demon dredged up from some black corner of memory; even from across the gallery, she can see into the crypt of its eye, huge and unblinking, and she can smell it, too; the creature smells like a swamp, riparian, of mire and ooze, and a thought, a scrap, a line from a book, rises to her from some abscess of memory and she wakes with a sentence on her lips: They are coming. They are coming and they don’t mean well.
SATURDAY
The southeaster throws a thick sheet of fog over Table Mountain. In Vredehoek everything looks hazy and tenuous. Cars loom up out of the white and disappear again. Alma sleeps till noon. When she wakes she comes tottering out with her wig in proper alignment, her eyes bright. “Good morning,” she says.
Pheko is startled. “Good morning, Mrs. Alma.”
He serves her oatmeal, raisins, and tea. “Pheko,” she says, enunciating his name as if tasting it. “You’re Pheko.” She says his name several more times.
“Would you like to sit indoors today, Mrs. Alma? It’s awfully damp out there.”
“Yes, I’ll stay inside. Thank you.”
They sit in the kitchen. Alma shovels big spoonfuls of oatmeal into her mouth. The television burbles out news about rising tensions, farm attacks, violence outside a health clinic.
“Now my husband,” Alma says suddenly, not quite speaking to Pheko but to the kitchen at large, “his passion was always rocks. Rocks and the dead things in them. Always off to do, as he put it, some grave-robbing. Mine was less obvious. I did care about houses. I was an estate agent before many women were estate agents.”
Pheko sets a hand on top of his head. Except for a mild unsteadiness in her voice, Alma sounds much as she did a decade ago. The television drones. Fog presses against the balcony windows.
“There were times when I was happy and times when I was not,” continues Alma. “Like anyone. To say a person is a happy person or an unhappy person is ridiculous. We are a thousand different kinds of people every hour.” She looks at Pheko then, though not quite directly at him. As if a guest floats behind him and to his left. Fog seeps through the garden. The trees disappear. The lounge chairs disappear. “Don’t you think?”
Pheko closes his eyes, opens them.
“Are you happy?”
“Me, Mrs. Alma?”
“You should have a family.”
“I do have a family. Remember? I have a son. He is five years old now.”
“Five years old,” says Alma.
“His name is Temba.”
“I see.” She drives her spoon into what’s left of the oatmeal and lets go and watches its handle slowly fall down to touch the rim of the bowl. “Come with me.”
Pheko follows her up the stairs into the guest bedroom. For a full minute she stands beside him, both of them facing her wall of papers and cartridges. She crouches, moving here and there along the wall. Her lips move silently. On the wall in front of Pheko is a postcard of a little island ringed by a turquoise sea. Two years ago Alma worked every day on this wall, posting things, concentrating. How many meals did Pheko bring her up in this room?
She reaches for the photo of Harold and fingers its corner a moment. “Sometimes,” she says, “I have trouble remembering things.”
Behind her, out the window, the fog cycles and cycles. The sky is invisible. The neighbor’s rooftops are gone. The garden is gone. Everything is white. “I know, Mrs. Alma,” Pheko says.
VAPOR LIGHTS
It’s 9:30 p.m. and the wind is shrieking against the ten thousand haphazard houses in Site C. As soon as he walks in the door, Pheko can tell by the way Miss Amanda has her lips pinched under her teeth that Temba has become ill. A foot away, he can feel the heat radiating off the boy’s body. “Little lamb,” whispers Pheko.
The queue at the twenty-four-hour clinic is already long, longer than Pheko has ever seen it. Mothers and children sit on upturned onion crates or sleep on blankets. Behind them a bus-length mural depicts Jesus stretching supernaturally long arms across a wall. Dried leaves and plastic bags scuttle down the road.
Two separate times over the next few hours Pheko has to get out of line because Temba has soiled his clothes. He cleans his son, wraps him in a towel, and returns to wait outside the clinic. The vapor lights on their towers above Site C rock back and forth like some aggregation of distant moons. Scraps of paper and skeins of dust fly through the air beneath them.
By 2 a.m. Pheko and Temba are still nowhere near the front of the line. Every hour or so a bleary nurse walks up and down the queue and says, in Xhosa, how grateful she is for everybody’s patience. The clinic, she says, is waiting for antibiotics.
Pheko can feel Temba’s sweat soaking through the towel around him. The boy’s cheeks are the color of dishwater. “Temba,” Pheko whispers. Once the boy raises his face weakly and Pheko can see the wobbling pinpoints of the light towers reflected in the sheen of his eyes.
THAT SAME HOUR
Roger and Luvo enter Alma Konachek’s house in the earliest hours of Sunday morning. Alma doesn’t wake. Her breathing sounds steadily from the bedroom. Roger wonders if perhaps the houseboy has given her a sedative.
Luvo tromps upstairs. Roger opens the refrigerator and closes it; he contemplates stepping out into the garden to smoke a cigarette. He feels, very keenly tonight, that he is almost out of time. Down below the balcony, somewhere past the fog, Cape Town sleeps.
Absently, for no reason, Roger opens the drawer beside the dishwasher. He has stood in this kitchen on seventeen different nights but has never before opened this drawer. Inside Roger can see butane lighters, coins, a box of staples. And a single beige polymer cartridge, identical to the hundreds upstairs.
Roger picks up the cartridge and holds it to the window. Number 4510.
“Kid,” Roger calls, raising his voice to the ceiling. “Kid.” Luvo does not reply. Roger walks upstairs and waits. The boy is hooked into the machine. His torso seems to vibrate lightly. After another minute the machine sighs, and Luvo’s eyes flit open. The boy sits back and grinds his palms into his eyesockets. Roger holds up the new cartridge.
“Look at this.” There is a shakiness in Roger’s voice that surprises them both.
Luvo reaches and takes it. “Have I seen this before?”
CARTRIDGE 4510
Alma is in a movie theater with Harold. They are perhaps thirty years old. The movie is about scuba divers. Onscreen, white birds with forked tails soar above a beach. Light touches the tops of breaking waves. Alma and Harold sit side by side, Alma in a bright green dress, green shoes, green plastic earrings, Harold in an expensive brown shirt. The side of Harold’s knee presses against the side of Alma’s. Luvo can feel a dim electricity traveling between them.
Now the camera slips underwater. Rainbows of fish flit across the screen. Reefs scroll past. Alma’s heart does its steady work.
The memory jerks forward; Alma and Harold are in a cab, Alma’s camera bag on the bench seat between them. They travel through a place that looks to Luvo like Camps Bay. Everything out the windows is vague; it is as if, for Alma, there is nothing to look at all. There is only feeling, only anticipation, only her young husband beside her.
In another breath they are climbing the steps of a regal, cream-colored hotel, backed by moonlit cliffs. Gulls soar everywhere. A little gold-lettered sign reads Twelve Apostles Hotel. Inside the lobby a willowy woman in a white shirt and white pants with a gold belt buckle gives them a key on a brass chain; they pad down a series of hallways.
In the hotel room Alma lets out a succession of bright, genuine laughs. She gulps wine. Everything is pristine; two spotless windows, a wide white bed, richly ruffled lampshades. Harold switches on a music player and takes off his shoes and dances clumsily in his socks. Out the windows, range after range of spotlit waves fold over onto a beach.
After what might be a few minutes Harold leaps the balcony railing and takes off his shirt and socks. “Come with me,” he calls, and Alma takes her camera bag and follows him down onto the beach. Alma laughs as Harold charges into the wave-break. He splashes around a bit, grinning hugely. “Freezing!” he shouts. As he walks out of the water, Alma raises her camera, and takes a photograph.
If they say anything more to one another, it is not remembered, not recorded on the cartridge. In the memory Harold makes love to Alma twice. Luvo feels he should leave, should yank out the cartridge, send himself back into Alma’s house in Vredehoek, but the room is so clean, the sheets are so cool beneath Alma’s back. Everything is soft; everything seems to vibrate with possibility. Alma tastes the sea on Harold’s skin. She feels his big-knuckled hands hold onto her ribs, his fingertips touch the knobs of her spine.
Near the end of the memory Alma closes her eyes and seems to slip underwater, as if back into the film at the moviehouse, watching a huge black urchin wave its spines, noticing how the water is not silent but full of soft clicks, and soon the pastels of coral are scrolling past her vision, and little slashes of needlefish are dodging her fingers, and Harold’s body seems not to be on top of hers at all, but drifting instead beside her; they are swimming together, floating slowly away from the reef toward a place where the sea floor falls away and the bottom is too far away to see, and there is only light filtering into deep water, bottomless water, and Alma’s blood seems to swell out to the very edges of her skin.
SUNDAY, 4 A.M.
Alma sits up in bed. From the ceiling comes the unmistakable sounds of footfalls. On her nightstand there is a glass of water, its bottom daubed with miniature bubbles. Beside it is a hardcover book. Though its jacket is missing and half the binding is torn away, the title appears sparkling and whole in her mind. Treasure Island. Of course.
From the ceiling comes another creak. Someone is in my house, Alma thinks, and then some still-functional junction in her brain coughs up an image of a man. His teeth are orange. His nose looks like a small brown gourd. His trousers are khaki and stained and a tear in the left shoulder of his shirt shows his darker skin beneath. A faded jaguar winds up the underside of his wrist.
Alma jerks herself onto her feet. A demon, she thinks, a burglar, a tall man in the yard.
She hurries across the kitchen into the study and opens the heavy, two-handled drawer at the bottom of Harold’s fossil cabinet. A drawer she has not opened in years. Toward the bottom, beneath a stack of paleontology magazines, is a cigar box upholstered with pale orange linen. Even before she finds it, she is certain it is there. Indeed, her mind feels particularly clear. Oiled. Operable. You are Alma, she thinks. I am Alma.
She retrieves the box, sets it on the desk that once was Harold’s and opens it. Inside is a nine-millimeter handgun.
She stares at it a moment before picking it up. Blunt and colorless and new-looking. Harold used to carry it in his glove compartment. She does not know how to tell if it is loaded.
Alma carries the gun in her left hand through the kitchen to the living room and sits in the silver armchair that offers her a view up the stairwell. She does not turn on any lights. Her heart flutters in her chest like a moth.
From upstairs winds a thin strand of cigarette smoke. The pendulum in the grandfather clock swings back and forth. Out the windows there is only a dim whiteness: fog. Everything seems irradiated with a meaning she is only now recognizing. My house, she thinks. I love my house.
If Alma keeps her eyes straight ahead, and does not look to her right or left, it is possible to believe Harold is about to settle into the matching chair beside her, the lamp and table between them. She can just sense the weight of his body shifting over there, can smell something like rock powder in his clothes, can perceive the scarcely perceptible gravitational tug one body exerts upon another. She has so much to say to him.
She sits. She waits. She tries to remember.
LEAVING THE QUEUE
At 4:30 a.m. Pheko and Temba are still twenty or so people from the clinic entrance. Temba is sleeping steadily now, his arms and legs limp, his big eyelids sealing him off from the world. The wind has settled down. Clouds of gnats materialize above the shacks. Pheko squats against the wall with his son in his lap. The boy looks emptied out, his cheeks depressed, the tendons in his throat showing.
Above them the painted Jesus stretches his implausibly long arms. The light towers have been switched off and a dull orange glow reflects off the undersides of the clouds.
My last day of work, Pheko thinks. Today the accountant will pay me. A second thought succeeds that one: Mrs. Alma has antibiotics. He is surprised he did not think of this sooner. She has piles of them. How many times has Pheko refreshed the little army of orange pill bottles standing in her bathroom cupboard?
Bats cut silent loops above the shanty rooftops. A little girl beside them unleashes a chain of coughs. Pheko can feel the dust on his face, can taste the earth in his molars. After another minute he lifts his sleeping son and abandons their place in the queue and carries the boy down through the noiseless streets to the bus station.
HAROLD
“Maybe it’s something the houseboy didn’t want her to see?” murmurs Roger. “Something that made her upset?”
Luvo waits for the memory to fade. He studies Alma’s wall in the dimness. Treasure Island. Gorgonops longifrons. Porter Properties. “That’s not it,” he says. On the wall in front of them float countless iterations of Alma Konachek: a seven-year-old sitting cross-legged on the floor; a brisk, thirty-year-old estate agent; a bald old lady. An entitled woman, a lover, a wife.
And in the center Harold walks perpetually out of the sea. His name printed below it in shaky handwriting. A photograph taken on the very night when Harold and Alma seemed to reach the peak of everything they could be. Alma had placed that picture in the center on purpose, Luvo is sure of it, before her endless rearranging had defaced the original logic of her project. The one thing she wouldn’t move.
