I reach down for the eggs; the bacon is in a screened box under the cabin, ventilated but protected from flies and mice. In a settler's house these would have been rootcellar and smoke-house; my father is an improvisor on standard themes.
I carry the food inside and start the breakfast. Joe and David are up, Joe sitting on the wall bench, face still fuzzy with sleep, David examining his chin in the mirror.
"I can make you hot water if you want to shave," I suggest, but his reflection grins and he shakes his head.
"Naaa," he says, "I'm gonna grow me a little old beard."
"Don't you dare," Anna says. "I don't like him kissing me when he has a beard, it reminds me of a cunt." Her hand goes over her mouth as though she is shocked. "Isn't that awful?"
"Filthy talk, woman," David says, "she's uncultured and vulgar."
"Oh I know, I've always been like that."
It's a quick skit, Joe and I are the audience, but Joe is still off in the place inside himself where he spends most of his time and I'm at the stove turning the bacon, I can't watch them so they stop.
I crouch down in front of the stove and open the firebox door to make the toast over the coals. There are no dirty words any more, they've been neutered, now they're only parts of speech; but I recall the feeling, puzzled, baffled, when I found out some words were dirty and the rest were clean. The bad ones in French are the religious ones, the worst ones in any language were what they were most afraid of and in English it was the body, that was even scarier than God. You could also say Jeesus Christ, but it meant you were angry or disgusted. I learned about religion the way most children then learned about sex, not in the gutter but in the gravel and cement schoolyard, during the winter months of real school. They would cluster in groups, holding each others' mittened hands and whispering. They terrified me by telling me there was a dead man in the sky watching everything I did and I retaliated by explaining where babies came from. Some of their mothers phoned mine to complain, though I think I was more upset than they were: they didn't believe me but I believed them.
I finish the toast; the bacon is done too, I dish it out, pouring the fat afterwards into the fire, keeping my hand back from the spurt of flame.
After breakfast David says "What's on the agenda?" I tell them I would like to search the trail that runs for half a mile close to the shore; my father may have gone along it to get wood. There was another trail that went back almost as far as the swamp but it was my brother's and secret, by now it must be illegible.
He can't have left the island, both canoes are in the toolshed and the aluminum motorboat is padlocked to a tree near the dock; the gas tanks for the motor are empty.
"Anyway," I say, "there's only two places he can be, on the island or in the lake." My head contradicts me: someone could have picked him up here and taken him to the village at the other end of the lake, it would be the perfect way to vanish; maybe he wasn't here during the winter at all.
But that's avoiding, it's not unusual for a man to disappear in the bush, it happens dozens of times each year. All it takes is a small mistake, going too far from the house in winter, blizzards are sudden, or twisting your leg so you can't walk out, in spring the blackflies would finish you, they crawl inside your clothes, you'd be covered with blood and delirious in a day. I can't accept it though, he knew too much, he was too careful.
I give David the machete, I don't know what shape the trail will be in, we may have to brush it out; Joe carries the hatchet. Before we start I coat their wrists and ankles with bug spray, and my own also. I used to be immune to mosquitoes, I'd been bitten so much, but I've lost it: on my legs and body are several itchy pink bumps from last night. The sound of love in the north, a kiss, a slap.
It's overcast, lowhanging cloud; there's a slight wind from the southeast, it may rain later or it may miss us, the weather here comes in pockets, like oil. We go in through the neck-high grass mixed with wild raspberry canes between the garden and the lake, past the burn heap and the compost heap. I should have unearthed the garbage, to see how recent it is; there's a pit also, where the burned tin cans are smashed flat and buried, that could be excavated. My father viewed as an archeological problem.
We're on the trail inside the forest; the first part is fairly open, though now and then we pass gigantic stumps, level and saw-cut, remnants of the trees that were here before the district was logged out. The trees will never be allowed to grow that tall again, they're killed as soon as they're valuable, big trees are scarce as whales.
The forest thickens and I watch for the blazes, still visible after fourteen years; the trees they're cut on have grown swollen edges around the wounds, scar tissue.
We begin to climb and my husband catches up with me again, making one of the brief appearances, framed memories he specializes in: crystal clear image enclosed by a blank wall. He's writing his own initials on a fence, graceful scrolls to show me how, lettering was one of the things he taught. There are other initials on the fence but he's making his bigger, leaving his mark. I can't identify the date or place, it was a city, before we were married; I lean beside him, admiring the fall of winter sunlight over his cheekbone and the engraved nose, noble and sloped like a Roman coin profile; that was when everything he did was perfect. On his hand is a leather glove. He said he loved me, the magic word, it was supposed to make everything light up, I'll never trust that word again.
My bitterness about him surprises me: I was what's known as the offending party, the one who left, he didn't do anything to me. He wanted a child, that's normal, he wanted us to be married.
In the morning while we were doing the dishes I decided to ask Anna. She was wiping a plate, humming snatches of The Big Rock Candy Mountain under her breath. "How do you manage it?" I said.
She stopped humming. "Manage what?"
"Being married. How do you keep it together?"
She glanced at me quickly as though she was suspicious. "We tell a lot of jokes."
"No but really," I said. If there was a secret trick I wanted to learn it.
She talked to me then, or not to me exactly but to an invisible microphone suspended above her head: people's voices go radio when they give advice. She said you just had to make an emotional commitment, it was like skiing, you couldn't see in advance what would happen but you had to let go. Let go of what, I wanted to ask her; I was measuring myself against what she was saying. Maybe that was why I failed, because I didn't know what I had to let go of. For me it hadn't been like skiing, it was more like jumping off a cliff. That was the feeling I had all the time I was married; in the air, going down, waiting for the smash at the bottom.
"How come it didn't work out, with you?" Anna said.
"I don't know," I said, "I guess I was too young."
She nodded sympathetically. "You're lucky you didn't have kids though."
"Yes," I said. She doesn't have any herself; if she did she couldn't have said that to me. I've never told her about the baby; I haven't told Joe either, there's no reason to. He won't find out the usual way, there aren't any pictures of it peering out from a crib or a window or through the bars of a playpen in my bureau drawer or my billfold where he could stumble across them and act astonished or outraged or sad. I have to behave as though it doesn't exist, because for me it can't, it was taken away from me, exported, deported. A section of my own life, sliced off from me like a Siamese twin, my own flesh cancelled. Lapse, relapse, I have to forget.
The trail's winding now through high ground where there are boulders coming up out of the earth, carried and dropped by glaciers, moss on them and ferns, it's a damp climate. I keep my eyes on the ground, names reappearing, wintergreen, wild mint, Indian cucumber; at one time I could list every plant here that could be used or eaten. I memorized survival manuals, How To Stay Alive in the Bush, Animal Tracks and Signs, The Woods in Winter, at the age when the ones in the city were reading True Romance magazines: it wasn't till then I realized it was in fact possible to lose your way. Max
ims float up: always carry matches and you will not starve, in a snowstorm dig a hole, avoid unclassified mushrooms, your hands and feet are the most important, if they freeze you're finished. Worthless knowledge; the pulp magazines with their cautionary tales, maidens who give in and get punished with mongoloid infants, fractured spines, dead mothers or men stolen by their best friends would have been more practical.
The trail dips down and across a swamp inlet at the tip of a bay, cedars here and bullrushes, blueflags, ooze. I go slowly, looking for footprints. There's nothing but a deer track, no sign of anyone: apparently Paul and the searchers didn't make it this far. The mosquitoes have scented us and swarm around our heads; Joe swears gently, David loudly, at the end of the line I hear Anna slapping.
We swing away from the shore and here it's a jungle, branches growing in across the path, hazel and moose maple, pithy junk trees. Sight is blocked two feet in, trunks and leaves a solid interlocking fence, green, green-grey, greybrown. None of the branches is chopped or broken back, if he's been here he's gone miraculously around and between them rather than through. I stand aside and David hacks at the wall with his machete, not very well; he tatters and bends rather than slicing.
We come up against a tree fallen across the trail. It's brought several young balsams down with it: they lie tangled together, logjam. "I don't think anyone's been through here," I say, and Joe says "Right on," he's annoyed: it's obvious. I peer into the forest to see if another trail has been cut around the windfall but there's no sign; or there are too many signs, since I'm anxious every opening between two trees looks like a path.
David prods at the dead trunk with the machete, poking holes in the bark. Joe sits down on the ground: he's breathing hard, too much city, and the flies are getting to him, he scratches his neck and the backs of his hands. "I guess that's it," I say because I have to be the one to confess defeat, and Anna says "Thank god, they're eating me alive."
We start back. He could still be in there somewhere but I see now the impossibility of searching the island for him, it's two miles long. It would take twenty or thirty men at least, strung out at intervals and walking straight through the forest, and even then they could miss him, dead or alive, accident or suicide or murder. Or if for some unfathomable reason he's chosen this absence and is hiding, they'd never find him: there would be nothing easier in this country than to let the searchers get ahead of you and then follow at a distance, stopping when they stop, keeping them in sight so that no matter which way they turned you would always be behind them. That's what I would do.
We walk through the green light, feet muffled on wet decaying leaves. The trail is altered going back: I'm at the end now. Every few steps I glance to each side, eyes straining, scanning the ground for evidence, for anything human: a button, a cartridge, a discarded bit of paper.
It's like the times he used to play hide and seek with us in the semi-dark after supper, it was different from playing in a house, the space to hide in was endless; even when we knew which tree he had gone behind there was the fear that what would come out when you called would be someone else.
CHAPTER SIX
No one can expect anything else from me. I checked everything, I tried; now I'm absolved from knowing. I should be telling someone official, filling in forms, getting help as you're supposed to in an emergency. But it's like searching for a ring lost on a beach or in the snow: futile. There's no act I can perform except waiting; tomorrow Evans will ship us to the village, and after that we'll travel to the city and the present tense. I've finished what I came for and I don't want to stay here, I want to go back to where there is electricity and distraction. I'm used to it now, filling the time without it is an effort.
The others are trying to amuse themselves. Joe and David are out in one of the canoes; I should have made them take life-jackets, neither of them can steer, they're shifting their paddles from side to side. I can see them from the front window and from the side window I can see Anna, partly hidden by trees. She's lying on her belly in bikini and sunglasses, reading a murder mystery, though she must be cold: the sky has cleared a little, but when the clouds move in front of the sun the heat shuts off.
Except for the bikini and the colour of her hair she could be me at sixteen, sulking on the dock, resentful at being away from the city and the boyfriend I'd proved my normality by obtaining; I wore his ring, too big for any of my fingers, around my neck on a chain, like a crucifix or a military decoration. Joe and David, when distance has disguised their faces and their awkwardness, might be my brother and my father. The only place left for me is that of my mother; a problem, what she did in the afternoons between the routines of lunch and supper. Sometimes she would take breadcrumbs or seeds out to the bird feeder tray and wait for the jays, standing quiet as a tree, or she would pull weeds in the garden; but on some days she would simply vanish, walk off by herself into the forest. Impossible to be like my mother, it would need a time warp; she was either ten thousand years behind the rest or fifty years ahead of them.
I brush my hair in front of the mirror, delaying; then I turn back to my work, my deadline, the career I suddenly found myself having, I didn't intend to but I had to find something I could sell. I'm still awkward with it, I don't know what clothes to wear to interviews: it feels strapped to me, like an aqualung or an extra, artificial limb. I have a title though, a classification, and that helps: I'm what they call a commercial artist, or, when the job is more pretentious, an illustrator. I do posters, covers, a little advertising and magazine work and the occasional commissioned book like this one. For a while I was going to be a real artist; he thought that was cute but misguided, he said I should study something I'd be able to use because there have never been any important woman artists. That was before we were married and I still listened to what he said, so I went into Design and did fabric patterns. But he was right, there never have been any.
This is the fifth book I've done; the first was a Department of Manpower employment manual, young people with lobotomized grins, rapturous in their padded slots: Computer Programmer, Welder, Executive Secretary, Lab Technician. Line drawings and a few graphs. The others were children's books and so is this one, Quebec Folk Tales, it's a translation. It isn't my territory but I need the money. I've had the typescript three weeks, I haven't come up with any final illustrations yet. As a rule I work faster than that.
The stories aren't what I expected; they're like German fairy tales, except for the absence of red-hot iron slippers and nail-studded casks. I wonder if this mercy descends from the original tellers, from the translator or from the publisher; probably it's Mr. Percival the publisher, he's a cautious man, he shies away from anything he calls "disturbing." We had an argument about that: he said one of my drawings was too frightening and I said children liked being frightened. "It isn't the children who buy the books," he said, "it's their parents." So I compromised; now I compromise before I take the work in, it saves time. I've learned the sort of thing he wants: elegant and stylized, decoratively coloured, like patisserie cakes. I can do that, I can imitate anything: fake Walt Disney, Victorian etchings in sepia, Bavarian cookies, ersatz Eskimo for the home market. Though what they like best is something they hope will interest the English and American publishers too.
Clean water in a glass, brushes in another glass, watercolours and acrylics in their metal toothpaste tubes. Bluebottle fly near my elbow, metallic abdomen gleaming, sucker tongue walking on the oilcloth like a seventh foot. When it was raining we would sit at this table and draw in our scrapbooks with crayons or coloured pencils, anything we liked. In school you had to do what the rest were doing.
On the crest of the hill for all to see
God planted a Scarlet Maple Tree
printed thirty-five times, strung out along the top of the blackboard, each page with a preserved maple leaf glued to it, ironed between sheets of wax paper.
I outline a princess, an ordinary one, emaciated fashion-model torso and infantile face, like
those I did for Favourite Fairy Tales. Earlier they annoyed me, the stories never revealed the essential things about them, such as what they ate or whether their towers and dungeons had bathrooms, it was as though their bodies were pure air. It wasn't Peter Pan's ability to fly that made him incredible for me, it was the lack of an outhouse near his underground burrow.
My princess tilts her head: she's gazing up at a bird rising from a nest of flames, wings outspread like a heraldic emblem or a fire insurance trademark: The Tale of the Golden Phoenix. The bird has to be yellow and the fire can only be yellow too, they have to keep the cost down so I can't use red; that way I lose orange and purple also. I asked for red instead of yellow but Mr. Percival wanted "a cool tone."
I pause to judge: the princess looks stupefied rather than filled with wonder. I discard her and try again, but this time she's cross-eyed and has one breast bigger than the other. My fingers are stiff, maybe I'm getting arthritis.
I skim the story again for a different episode, but no pictures form. It's hard to believe that anyone here, even the grandmothers, ever knew these stories: this isn't a country of princesses, The Fountain of Youth and The Castle of the Seven Splendours don't belong here. They must have told stories about something as they sat around the kitchen range at night: bewitched dogs and malevolent trees perhaps, and the magic powers of rival political candidates, whose effigies in straw they burned during elections.
But the truth is that I don't know what the villagers thought or talked about, I was so shut off from them. The older ones occasionally crossed themselves when we passed, possibly because my mother was wearing slacks, but even that was never explained. Although we played during visits with the solemn, slightly hostile children of Paul and Madame, the games were brief and wordless. We never could find out what went on inside the tiny hillside church they filed into on Sundays: our parents wouldn't let us sneak up and peer through the windows, which made it illicit and attractive. After my brother began going to school in the winters he told me it was called the Mass and what they did inside was eat; I imagined it as a sort of birthday party, with ice cream - birthday parties were my only experience then of people eating in groups - but according to my brother all they had was soda crackers.