Fall on Your Knees (2 page)

“Why canst thou not always be a good lass, Cathy?”
“Why cannot you always be a good man, father?”

WUTHERING HEIGHTS

Silent Pictures

They’re all dead now.

Here’s a picture of the town where they lived. New Waterford. It’s a night bright with the moon. Imagine you are looking down from the height of a church steeple, onto the vivid gradations of light and shadow that make the picture. A small mining town near cutaway cliffs that curve over narrow rock beaches below, where the silver sea rolls and rolls, flattering the moon. Not many trees, thin grass. The silhouette of a colliery, iron tower against a slim pewter sky with cables and supports sloping at forty-five-degree angles to the ground. Railway tracks that stretch only a short distance from the base of a gorgeous high slant of glinting coal, towards an archway in the earth where the tracks slope in and down and disappear. And spreading away from the collieries and coal heaps are the peaked roofs of the miners’ houses built row on row by the coal company. Company houses. Company town.

Look down over the street where they lived. Water Street. An avenue of packed dust and scattered stones that leads out past the edge of town to where the wide, keeling graveyard overlooks the ocean. That sighing sound is just the sea.

Here’s a picture of their house as it was then. White, wood frame with the covered veranda. It’s big compared to the miners’ houses. There’s a piano in the front room. In the back is the kitchen where Mumma died.

Here’s a picture of her the day she died. She had a stroke while cleaning the oven. Which is how the doctor put it. Of course you can’t see her face for the oven, but you can see where she had her stockings rolled down for housework and, although this is a black and white picture, her house-dress actually is black since she was in mourning for Kathleen at the time, as well as Ambrose. You can’t tell from this picture, but Mumma couldn’t speak English very well. Mercedes found her like that, half in half out of the oven like the witch in Hansel and Gretel. What did she plan to cook that day? When Mumma died, all the eggs in the pantry went bad — they must have because you could smell that sulphur smell all the way down Water Street.

So that’s the house at 191 Water Street, New Waterford, Cape Breton Island, in the far eastern province of Nova Scotia, Canada. And that’s Ma on the day she died, June 23, 1919.

Here’s a picture of Daddy. He’s not dead, he’s asleep. You see that armchair he’s in? That’s the pale green wingback. His hair is braided. That’s not an ethnic custom. They were only ethnic on Mumma’s side. Those are braids that Lily put in his hair while he was asleep.

There are no pictures of Ambrose, there wasn’t time for that. Here’s a picture of his crib still warm.

Other Lily is in limbo. She lived a day, then died before she could be baptized, and went straight to limbo along with all the other unbaptized babies and the good heathens. They don’t suffer, they just sort of hang there effortlessly and unaware. Jesus is known to have gone into limbo occasionally and taken a particularly good heathen out of it and up to heaven. So it is possible. Otherwise…. That’s why this picture of Other Lily is a white blank.

Don’t worry. Ambrose was baptized.

Here’s one of Mercedes. That opal rosary of hers was basically priceless. An opal rosary, can you imagine? She kept it pinned to the inside of her brassiere, over her heart, at all times when she wasn’t using it. Partly for divine protection, partly out of the convenience of never being without the means to say a quick decade of the beads when the spirit moved her, which was often. Although, as Mercedes liked to point out, you can say the rosary with any objects at hand if you find yourself in need of a prayer but without your beads. For example, you can say it with pebbles or breadcrumbs. Frances wanted to know, could you say the rosary with cigarette butts? The answer was yes, if you’re pure at heart. With mouse turds? With someone’s freckles? The dots in a newspaper photograph of Harry Houdini? That’s enough, Frances. In any case, this is a picture of Mercedes, holding her opal rosary, with one finger raised and pressed against her lips. She’s saying, “Shshsh.”

And this is Frances. But wait, she’s not in it yet. This one is a moving picture. It was taken at night, behind the house. There’s the creek, flowing black and shiny between its narrow banks. And there’s the garden on the other side. Imagine you can hear the creek trickling. Like a girl telling a secret in a language so much like our own. A still night, a midnight clear. It’s only fair to tell you that a neighbour once saw the dismembered image of his son in this creek, only to learn upon his arrival home for supper that his son had been crushed to death by a fall of stone in Number 12 Mine.

But tonight the surface of the creek is merely as Nature made it. And certainly it’s odd but not at all supernatural to see the surface break, and a real live soaked and shivering girl rise up from the water and stare straight at us. Or at someone just behind us. Frances. What’s she doing in the middle of the creek, in the middle of the night? And what’s she hugging to her chest with her chicken-skinny arms? A dark wet bundle. Did it stir just now? What are you doing, Frances?

But even if she were to answer, we wouldn’t know what she was saying, because, although this is a moving picture, it is also a silent one. All the pictures of Kathleen were destroyed. All except one. And it’s been put away.

Kathleen sang so beautifully that God wanted her to sing for Him in heaven with His choir of angels. So He took her.

Book 1

T
HE
G
ARDEN

To Seek His Fortune

A long time ago, before you were born, there lived a family called Piper on Cape Breton Island. The daddy, James Piper, managed to stay out of the coal mines most of his life, for it had been his mother’s great fear that he would grow up and enter the pit. She had taught him to read the classics, to play piano and to expect something finer in spite of everything. And that was what James wanted for his own children.

James’s mother came from Wreck Cove, the daughter of a prosperous boat builder. James’s father was a penniless shoemaker from Port Hood. James’s father fell in love with James’s mother while measuring her feet. He promised her father he wouldn’t take her far from home. He married her and took her to Egypt and that’s where James was born. Egypt was a lonely place way on the other side of the island, in Inverness County, and James never even had a brother or sister to play with. James’s father traded his iron last for a tin pan, but no one then or since ever heard of a Cape Breton gold rush.

It used to make his father angry when James and his mother spoke Gaelic together, for his father spoke only English. Gaelic was James’s mother tongue. English always felt flat and harsh, like daylight after night-fishing, but his mother made sure he was proficient as a little prince, for they were part of the British Empire and he had his way to make.

One morning, the day before his fifteenth birthday, James awoke with the realization that he could hit his father back. But when he came downstairs that day, his father was gone and his mother’s piano had been quietly dismantled in the night. James spent six months putting it back together again. That was how he became a piano tuner.

All James wanted at fifteen was to belt his father once. All he wanted at fifteen and a half was to hear his mother play the piano once more, but she was dead of a dead baby before he finished the job. James took a tartan blanket she’d woven, and the good books she had taught him to read, and tucked them into the saddle-bag of the old pit pony. He came back in, sat down at the piano and plunged into “Moonlight Sonata”. Stopped after four bars, got up, adjusted C sharp, sat down and swayed to the opening of “The Venetian Boat Song”. Satisfied, he stopped after five bars, took the bottle of spirits from his mother’s sewing basket, doused the piano and set it alight.

He got on the blind pony and rode out of Egypt.

The Wreck Cove relatives offered him a job sanding dories. James was meant for better things. He would ride to Sydney, where he knew there’d be more pianos.

Sydney was the only city on Cape Breton Island and it was many miles south, by a road that often disappeared, along an Atlantic coast that made the most of itself with inlets and bays that added days to his journey. There were few people, but those he met were ready with a meal for a clean clear boy who sat so straight and asked for nothing. “Where you from, dear, who’s your father?” Mostly Gaelic speakers like his own mother, yet always he declined a bed or even a place in the straw, intending that the next roof to cover his slumber be his own. Moss is the consolation of rocks, and fir trees don’t begrudge a shallow soil but return a tenfold embrace of boughs to shelter the skinny earth that bore them. So he slept outside and was not lonely, having so much to think about.

Following the ocean a good part of the way, James discovered that there is nothing so congenial to lucid thought as a clear view of the sea. It aired his mind, tuned his nerves and scoured his soul. He determined always to live in sight of it.

He’d never been to a city before. The cold rock smell of the sea gave way to bitter cooked coal, and the grey mist became streaked with orange around him. He looked way up and saw fire-bright clouds billowing out the stacks of the Dominion Iron and Steel Company. They cast an amber spice upon the sky that hung, then silted down in saffron arcs to swell, distend and disappear in a falling raiment of finest ash onto the side of town called Whitney Pier.

Here homes of many-coloured clapboard bloomed between the blacksmiths’ shops and the boiler-house of the great mill, and here James got a fright, never having seen an African except in books. Fresh sheets fluttered from a line, James guided the pony onto asphalt, across a bridge where he looked back at the burnt-brick palace a mile long on the waterfront, and contemplated the cleanliness of steel born of soot.

Plaits of tracks, a whiff of tar, to his right a dreadful pond, then onto Pleasant Street where barefoot kids kicked a rusty can. He followed the screech of gulls to the Esplanade where the wharfs of Sydney Harbour fanned out with towering ships from everywhere, iron hulls bearded with seaweed, scorched by salt, some with unknowable names painted in a dancing heathen script. A man offered him a job loading and unloading — “No thank you, sir.” New rails in a paved street mirrored cables that swung along overhead and led him to the centre of town, an electrical train carriage sparked and clanged right behind him, the sun came out. Charlotte Street. Fancy wood façades rose three storeys either side, ornate lettering proclaimed cures for everything, glass panes gloated there was nothing you could not buy ready-made, McVey, McCurdy, Ross, Rhodes and Curry; Moore, McKenzie, MacLeod, Mahmoud; MacEchan, Vitelli, Boutillier, O’Leary, MacGilvary, Ferguson, Jacobson, Smith; MacDonald, Mcdonald, Macdonell. More people than he’d ever seen, dressed better than Sunday, all going somewhere, he saw ice-cream. And at last, up the hill where the posh people lived.

The pony sagged beneath him and cropped the edge of someone’s fine lawn as James came to the conclusion of his travelling thoughts. He would have enough money to buy a great house; for ready-made things, and a wife with soft hands; for a family that would fill his house with beautiful music and the silence of good books.

James was right. There were a lot of pianos in Sydney.

His Left Eye

The first time James saw Materia was New Year’s Eve 1898, at her father’s house on the hill. James was eighteen.

He’d been summoned to tune the Mahmouds’ grand piano for the evening’s celebration. It was not his first time in the Mahmoud house. He’d been tending their Steinway for the past year, but had no idea who played it so often and so energetically that it needed frequent attention.