After breakfast the next morning they set out from the main dock, in four canoes, three in each. The lipstick stripes have not come off completely, and still show faintly pink, like healing burns. They wear their white denim sailing hats, because of the sun, and thin-striped T-shirts, and pale baggy shorts with the cuffs rolled up. The middle one kneels, propping her rear end against the rolled sleeping bags. The counsellors going with them are Pat and Kip. Kip is no-nonsense; Pat is easier to wheedle, or fool.
There are white puffy clouds and a small breeze. Glints come from the little waves. Lois is in the bow of Kip's canoe. She still can't do a J-stroke very well, and she will have to be in the bow or the middle for the whole trip. Lucy is behind her; her own J-stroke is even worse. She splashes Lois with her paddle, quite a big splash.
"I'll get you back," says Lois.
"There was a stable fly on your shoulder," Lucy says.
Lois turns to look at her, to see if she's grinning. They're in the habit of splashing each other. Back there, the camp has vanished behind the first long point of rock and rough trees. Lois feels as if an invisible rope has broken. They're floating free, on their own, cut loose. Beneath the canoe the lake goes down, deeper and colder than it was a minute before.
"No horsing around in the canoe," says Kip. She's rolled her T-shirt sleeves up to the shoulder; her arms are brown and sinewy, her jaw determined, her stroke perfect. She looks as if she knows exactly what she is doing.
The four canoes keep close together. They sing, raucously and with defiance; they sing "The Quartermaster's Store," and "Clementine," and "Alouette." It is more like bellowing than singing.
After that the wind grows stronger, blowing slantwise against the bows, and they have to put all their energy into shoving themselves through the water.
Was there anything important, anything that would provide some sort of reason or clue to what happened next? Lois can remember everything, every detail; but it does her no good.
They stopped at noon for a swim and lunch, and went on in the afternoon. At last they reached Little Birch, which was the first campsite for overnight. Lois and Lucy made the fire, while the others pitched the heavy canvas tents. The fireplace was already there, flat stones piled into a U. A burned tin can and a beer bottle had been left in it. Their fire went out, and they had to restart it. "Hustle your bustle," said Kip. "We're starving."
The sun went down, and in the pink sunset light they brushed their teeth and spat the toothpaste froth into the lake. Kip and Pat put all the food that wasn't in cans into a packsack and slung it into a tree, in case of bears.
Lois and Lucy weren't sleeping in a tent. They'd begged to be allowed to sleep out; that way they could talk without the others hearing. If it rained, they told Kip, they promised not to crawl dripping into the tent over everyone's legs: they would get under the canoes. So they were out on the point.
Lois tried to get comfortable inside her sleeping bag, which smelled of musty storage and of earlier campers, a stale salty sweetness. She curled herself up, with her sweater rolled up under her head for a pillow and her flashlight inside her sleeping bag so it wouldn't roll away. The muscles of her sore arms were making small pings, like rubber bands breaking.
Beside her Lucy was rustling around. Lois could see the glimmering oval of her white face.
"I've got a rock poking into my back," said Lucy.
"So do I," said Lois. "You want to go into the tent?" She herself didn't, but it was right to ask.
"No," said Lucy. She subsided into her sleeping bag. After a moment she said, "It would be nice not to go back."
"To camp?" said Lois.
"To Chicago," said Lucy. "I hate it there."
"What about your boyfriend?" said Lois. Lucy didn't answer. She was either asleep or pretending to be.
There was a moon, and a movement of the trees. In the sky there were stars, layers of stars that went down and down. Kip said that when the stars were bright like that instead of hazy it meant bad weather later on. Out on the lake there were two loons, calling to each other in their insane, mournful voices. At the time it did not sound like grief. It was just background.
The lake in the morning was flat calm. They skimmed along over the glassy surface, leaving V-shaped trails behind them; it felt like flying. As the sun rose higher it got hot, almost too hot. There were stable flies in the canoes, landing on a bare arm or leg for a quick sting. Lois hoped for wind.
They stopped for lunch at the next of the named campsites, Lookout Point. It was called this because, although the site itself was down near the water on a flat shelf of rock, there was a sheer cliff nearby and a trail that led up to the top. The top was the lookout, although what you were supposed to see from there was not clear. Kip said it was just a view.
Lois and Lucy decided to make the climb anyway. They didn't want to hang around waiting for lunch. It wasn't their turn to cook, though they hadn't avoided much by not doing it, because cooking lunch was no big deal, it was just unwrapping the cheese and getting out the bread and peanut butter, but Pat and Kip always had to do their woodsy act and boil up a billy tin for their own tea.
They told Kip where they were going. You had to tell Kip where you were going, even if it was only a little way into the woods to get dry twigs for kindling. You could never go anywhere without a buddy.
"Sure," said Kip, who was crouching over the fire, feeding driftwood into it. "Fifteen minutes to lunch."
"Where are they off to?" said Pat. She was bringing their billy tin of water from the lake.
"Lookout," said Kip.
"Be careful," said Pat. She said it as an afterthought, because it was what she always said.
"They're old hands," Kip said.
Lois looks at her watch: it's ten to twelve. She is the watch-minder; Lucy is careless of time. They walk up the path, which is dry earth and rocks, big rounded pinky-grey boulders or split-open ones with jagged edges. Spindly balsam and spruce trees grow to either side, the lake is blue fragments to the left. The sun is right overhead; there are no shadows anywhere. The heat comes up at them as well as down. The forest is dry and crackly.
It isn't far, but it's a steep climb and they're sweating when they reach the top. They wipe their faces with their bare arms, sit gingerly down on a scorching-hot rock, five feet from the edge but too close for Lois. It's a lookout all right, a sheer drop to the lake and a long view over the water, back the way they've come. It's amazing to Lois that they've travelled so far, over all that water, with nothing to propel them but their own arms. It makes her feel strong. There are all kinds of things she is capable of doing.
"It would be quite a dive off here," says Lucy.
"You'd have to be nuts," says Lois.
"Why?" says Lucy. "It's really deep. It goes straight down." She stands up and takes a step nearer the edge. Lois gets a stab in her midriff, the kind she gets when a car goes too fast over a bump. "Don't," she says.
"Don't what?" says Lucy, glancing around at her mischievously. She knows how Lois feels about heights. But she turns back. "I really have to pee," she says.
"You have toilet paper?" says Lois, who is never without it. She digs in her shorts pocket.
"Thanks," says Lucy.
They are both adept at peeing in the woods: doing it fast so the mosquitoes don't get you, the underwear pulled up between the knees, the squat with the feet apart so you don't wet your legs, facing downhill. The exposed feeling of your bum, as if someone is looking at you from behind. The etiquette when you're with someone else is not to look. Lois stands up and starts to walk back down the path, to be out of sight.
"Wait for me?" says Lucy.
Lois climbed down, over and around the boulders, until she could not see Lucy; she waited. She could hear the voices of the others, talking and laughing, down near the shore. One voice was yelling, "Ants! Ants!" Someone must have sat on an ant hill. Off to the side, in the woods, a raven was croaking, a hoarse single note.
She l
ooked at her watch: it was noon. This is when she heard the shout.
She has gone over and over it in her mind since, so many times that the first, real shout has been obliterated, like a footprint trampled by other footprints. But she is sure (she is almost positive, she is nearly certain) that it was not a shout of fear. Not a scream. More like a cry of surprise, cut off too soon. Short, like a dog's bark.
"Lucy?" Lois said. Then she called "Lucy!" By now she was clambering back up, over the stones of the path. Lucy was not up there. Or she was not in sight.
"Stop fooling around," Lois said. "It's lunch-time." But Lucy did not rise from behind a rock or step out, smiling, from behind a tree. The sunlight was all around; the rocks looked white. "This isn't funny!" Lois said, and it wasn't, panic was rising in her, the panic of a small child who does not know where the bigger ones are hidden. She could hear her own heart. She looked quickly around; she lay down on the ground and looked over the edge of the cliff. It made her feel cold. There was nothing.
She went back down the path, stumbling; she was breathing too quickly; she was too frightened to cry. She felt terrible - guilty and dismayed, as if she had done something very bad, by mistake. Something that could never be repaired. "Lucy's gone," she told Kip.
Kip looked up from her fire, annoyed. The water in the billy can was boiling. "What do you mean, gone?" she said. "Where did she go?"
"I don't know," said Lois. "She's just gone."
No one had heard the shout, but then no one had heard Lois calling, either. They had been talking among themselves, by the water.
Kip and Pat went up to the lookout and searched and called, and blew their whistles. Nothing answered.
Then they came back down, and Lois had to tell exactly what had happened. The other girls all sat in a circle and listened to her. Nobody said anything. They all looked frightened, especially Pat and Kip. They were the leaders. You did not just lose a camper like this, for no reason at all.
"Why did you leave her alone?" said Kip.
"I was just down the path," said Lois. "I told you. She had to go to the bathroom." She did not say pee in front of people older than herself.
Kip looked disgusted.
"Maybe she just walked off into the woods and got turned around," said one of the girls.
"Maybe she's doing it on purpose," said another.
Nobody believed either of these theories.
They took the canoes and searched around the base of the cliff, and peered down into the water. But there had been no sound of falling rock; there had been no splash. There was no clue, nothing at all. Lucy had simply vanished.
That was the end of the canoe trip. It took them the same two days to go back that it had taken coming in, even though they were short a paddler. They did not sing.
After that, the police went in a motorboat, with dogs; they were the Mounties and the dogs were German shepherds, trained to follow trails in the woods. But it had rained since, and they could find nothing.
Lois is sitting in Cappie's office. Her face is bloated with crying, she's seen that in the mirror. By now she feels numbed; she feels as if she has drowned. She can't stay here. It has been too much of a shock. Tomorrow her parents are coming to take her away. Several of the other girls who were on the canoe trip are also being collected. The others will have to stay, because their parents are in Europe, or cannot be reached.
Cappie is grim. They've tried to hush it up, but of course everyone in camp knows. Soon the papers will know too. You can't keep it quiet, but what can be said? What can be said that makes any sense? "Girl vanishes in broad daylight, without a trace." It can't be believed. Other things, worse things, will be suspected. Negligence, at the very least. But they have always taken such care. Bad luck will gather around Camp Manitou like a fog; parents will avoid it, in favour of other, luckier places. Lois can see Cappie thinking all this, even through her numbness. It's what anyone would think.
Lois sits on the hard wooden chair in Cappie's office, beside the old wooden desk, over which hangs the thumbtacked bulletin board of normal camp routine, and gazes at Cappie through her puffy eyelids. Cappie is now smiling what is supposed to be a reassuring smile. Her manner is too casual: she's after something. Lois has seen this look on Cappie's face when she's been sniffing out contraband chocolate bars, hunting down those rumoured to have snuck out of their cabins at night.
"Tell me again," says Cappie, "from the beginning."
Lois has told her story so many times by now, to Pat and Kip, to Cappie, to the police, that she knows it word for word. She knows it, but she no longer believes it. It has become a story. "I told you," she said. "She wanted to go to the bathroom. I gave her my toilet paper. I went down the path, I waited for her. I heard this kind of shout ..."
"Yes," says Cappie, smiling confidingly, "but before that. What did you say to one another?"
Lois thinks. Nobody has asked her this before. "She said you could dive off there. She said it went straight down."
"And what did you say?"
"I said you'd have to be nuts."
"Were you mad at Lucy?" says Cappie, in an encouraging voice.
"No," says Lois. "Why would I be mad at Lucy? I wasn't ever mad at Lucy." She feels like crying again. The times when she has in fact been mad at Lucy have been erased already. Lucy was always perfect.
"Sometimes we're angry when we don't know we're angry," says Cappie, as if to herself. "Sometimes we get really mad and we don't even know it. Sometimes we might do a thing without meaning to, or without knowing what will happen. We lose our tempers."
Lois is only thirteen, but it doesn't take her long to figure out that Cappie is not including herself in any of this. By we she means Lois. She is accusing Lois of pushing Lucy off the cliff. The unfairness of this hits her like a slap. "I didn't!" she says.
"Didn't what?" says Cappie softly. "Didn't what, Lois?"
Lois does the worst thing, she begins to cry. Cappie gives her a look like a pounce. She's got what she wanted.
Later, when she was grown up, Lois was able to understand what this interview had been about. She could see Cappie's desperation, her need for a story, a real story with a reason in it; anything but the senseless vacancy Lucy had left for her to deal with. Cappie wanted Lois to supply the reason, to be the reason. It wasn't even for the newspapers or the parents, because she could never make such an accusation without proof. It was for herself: something to explain the loss of Camp Manitou and of all she had worked for, the years of entertaining spoiled children and buttering up parents and making a fool of herself with feathers stuck in her hair. Camp Manitou was in fact lost. It did not survive.
Lois worked all this out, twenty years later. But it was far too late. It was too late even ten minutes afterwards, when she'd left Cappie's office and was walking slowly back to her cabin to pack. Lucy's clothes were still there, folded on the shelves, as if waiting. She felt the other girls in the cabin watching her with speculation in their eyes. Could she have done it? She must have done it. For the rest of her life, she has caught people watching her in this way.
Maybe they weren't thinking this. Maybe they were merely sorry for her. But she felt she had been tried and sentenced, and this is what has stayed with her: the knowledge that she had been singled out, condemned for something that was not her fault.
Lois sits in the living room of her apartment, drinking a cup of tea. Through the knee-to-ceiling window she has a wide view of Lake Ontario, with its skin of wrinkled blue-grey light, and of the willows of Centre Island shaken by a wind, which is silent at this distance, and on this side of the glass. When there isn't too much pollution she can see the far shore, the foreign shore; though today it is obscured.
Possibly she could go out, go downstairs, do some shopping; there isn't much in the refrigerator. The boys say she doesn't get out enough. But she isn't hungry, and moving, stirring from this space, is increasingly an effort.
She can hardly remember, now, having her t
wo boys in the hospital, nursing them as babies; she can hardly remember getting married, or what Rob looked like. Even at the time she never felt she was paying full attention. She was tired a lot, as if she was living not one life but two: her own, and another, shadowy life that hovered around her and would not let itself be realized - the life of what would have happened if Lucy had not stepped sideways, and disappeared from time.
She would never go up north, to Rob's family cottage or to any place with wild lakes and wild trees and the calls of loons. She would never go anywhere near. Still, it was as if she was always listening for another voice, the voice of a person who should have been there but was not. An echo.
While Rob was alive, while the boys were growing up, she could pretend she didn't hear it, this empty space in sound. But now there is nothing much left to distract her.
She turns away from the window and looks at her pictures. There is the pinkish island, in the lake, with the intertwisted trees. It's the same landscape they paddled through, that distant summer. She's seen travelogues of this country, aerial photographs; it looks different from above, bigger, more hopeless: lake after lake, random blue puddles in dark green bush, the trees like bristles.
How could you ever find anything there, once it was lost? Maybe if they cut it all down, drained it all away, they might find Lucy's bones, some time, wherever they are hidden. A few bones, some buttons, the buckle from her shorts.
But a dead person is a body; a body occupies space, it exists somewhere. You can see it; you put it in a box and bury it in the ground, and then it's in a box in the ground. But Lucy is not in a box, or in the ground. Because she is nowhere definite, she could be anywhere.
And these paintings are not landscape paintings. Because there aren't any landscapes up there, not in the old, tidy European sense, with a gentle hill, a curving river, a cottage, a mountain in the background, a golden evening sky. Instead there's a tangle, a receding maze, in which you can become lost almost as soon as you step off the path. There are no backgrounds in any of these paintings, no vistas; only a great deal of foreground that goes back and back, endlessly, involving you in its twists and turns of tree and branch and rock. No matter how far back in you go, there will be more. And the trees themselves are hardly trees; they are currents of energy, charged with violent colour.