Harvest Home (26 page)

I saw a figure. I did not move even a fraction as it appeared. I was right; the music had not been the end of it. It was a male figure, and I supposed it had come out of the cornfield, for it waited just at the edge, in a dark strip of soil between the meadow and the beginning of the corn. It stood enormously erect, wearing some kind of garments, though I could not perceive what they might be. I say the figure was enormous, for so it seemed, larger than any human I had ever seen. It took first one step, then another, and came into the full light of the moon.

It might have been a spirit of vegetation—I remember that the idiot trademark of the Jolly Green Giant immediately crossed my mind. Yet there was nothing humorous about it. It was deadly serious, earnest, real. In all its vividness and aliveness, it stood there, the embodiment of vigor and of growing; not demoniacal, but a benign spirit. Now I saw that the arms and legs were sheathed in tied-on bunches of straw, while the torso and lower quarters were girdled in corn leaves. A tight-fitting helmet-shaped cap of leaves covered the head, and the face itself was hidden behind a large straw mask. The expression formed by the angled eye slits, and that of the mouth, was again one of benevolence, the slightly vacant yet obtrusively concentrated expression of ancient Greek sculpture, a look at once bland yet enigmatic: the unknowable. The figure took the classic stance of
contrapposto
, the forward leg engaged, shoulders and hips in opposition. Thus it stood, nothing more—for the moment.

It was the figure from the corn quilt, of course. The Harvest Lord; but not a representation or facsimile. He brought his arms up very slowly, a gesture I found both equivocal and absolute: a wide, encompassing movement, as though within the curve of his arms lay revelation. With arms outstretched, he bowed, acknowledging me—a somewhat theatrical bow, I thought. I told myself it must be Justin Hooke, yet I was not sure. I looked for a glimpse of golden hair at the back of the neck, but could see none. He straightened again, and lowered one arm. With the other hand he made dumb gestures, pantomiming a flow of words from behind the mask. Then he turned slightly and another gesture indicated the raising of a curtain or drapery, behind which lay the cornfield, which he now indicated in a single wide sweeping arc. Then the arm came down, and he turned to his right.

My attention was drawn to where he looked, and I now saw another figure some distance away along the edge of the field. I had not seen this one appear, either; it was simply there. A female figure, hidden from top to toe under some sort of luminous veil. She remained immobile under the silvery shroud, facing me, then turned toward the male figure. I waited, wondering if they would approach each other simultaneously or if one would go to the other. Then I saw it was the woman who waited, the man who went, advancing to her slowly, ceremoniously, and simply. When he had got to within three or four feet of her, he lay down, couching himself in the short grass, one knee up, resting on one locked arm. For a moment neither moved; then the woman’s pale draperies parted and an arm appeared. In a slow gesture it revealed itself, the hand supple, graceful, the ringers relaxed, slightly bent, the forefinger extended. She leaned her shoulders slightly forward, and now the man raised his free arm and, with his pointing finger, awaited her touch. The space between the two fingers grew smaller, and as they closed I saw a quick flash, a single white sputter of light that leaped between them. It was the Sistine Chapel, Michelangelo’s awakening of Adam, the divine spark given from Jehovah. But that was a fresco, this was real. The kinetic gift of the vital life force. The man got to his feet, bowed to the woman, to me, then returned to where he had originally appeared. I turned my eyes back to the figure under the veil. Her hand and arm had been withdrawn beneath the draperies again, the disguise assumed again.

Who was she? Who was she
meant
to be?

I had thought at first it must be the Corn Maiden. But, observing her, I realized she had come in a form different from what I expected, something other than what I had seen in the quilt. I sensed it was not she but someone else, someone whose identity I was supposed to guess. The sphinx. In her very being lay the conundrum. Tell me who I am, she seemed to say. She remained motionless for a period, as if giving me time to make my guess; then she lifted her hands outward from her sides, and they met slowly over her head, raising the veil as the covered fingers touched above. I was both shocked and excited as I realized that under the veil she was completely naked, and I could see the gleam of her thighs, pale and marmoreal in the moonlight, with the dark, mysterious cleft between.

I thought she must remove the veil. I thought she must invite me, make some gesture, some signal that I was to come to her, to take the place of the other figure, but when the hem of the drapery had lifted almost to the waist, it immediately dropped again. I rose and took a step forward, revealing myself. I looked to the place where the man had been standing, but he had disappeared. Then the woman figure inclined her head beneath the veil, posed for an instant, turned, and stepped from the grass onto the strip of dark earth, into the shadows of the cornstalks, then into the corn itself.

She was gone.

I ran partway down the lawn, then stopped. I was not meant to follow. Something had been revealed to me, not only the woman’s charms, but also some deeper, metaphysical equation I could not solve. Watching the field, I heard the dry bone sound I had heard earlier, followed by a short flute passage, brief but effective, like the final coda in the Strauss
Till Eulenspiegel
. A beguiling strain, yet somehow mocking, as though the whole thing had been a game, some little divertissement for an autumn evening.

All was silence. I turned and went back up the lawn to the terrace. I found the peg for the cask, fitted it in, picked up the glasses, and carried them and the keg into the house. I rinsed out the glasses and set them in the rack. I let the cold water run on my hand; the flow had an incredible feeling to it. I turned off the tap and put the cask on the topmost shelf of one of the cupboards. I locked the kitchen door, switched off the lights, went through the hall, checked that the front door was locked, and went upstairs. I stopped and listened at Kate’s door, then opened it softly. She was asleep. I closed it again, and crossed the hall to our bedroom. The door was ajar. I went in to find Beth in the rocking chair by the window. Her hand was raised in what appeared to be a gesture, and at first I thought she was motioning to someone; then I saw she was only reaching for the tassel of the shade. She drew it down, and her hand dropped into her lap. She spoke softly, calling me darling, and rose to extinguish the only light, the small one on the bureau. She disrobed and got onto the bed, which she had turned down. She was waiting for me.

The moonlight streamed through the front windows, enough to undress by. I was careful with my clothes, folding them and placing them on the chair, my shoes beneath, and when I turned again Beth drew a little breath as I went to her, and I thought of a bride on her wedding night, waiting to submit to the demands of her spouse. But when I took her it was no virgin I took, but a woman, versed and capable, as accomplished a lover as any man could hope for. We were together as we had never been before, not even in the days of the Rue du Bac in Paris, a meeting of two people that was not only physical but spiritual as well, and if ever we knew one another, it was on that night when we had drunk from the Widow Fortune’s little wooden cask and the flutes had played.

Afterward, while Beth slept, I rose again and went into the bathroom. From the window over the radiator, I could look down onto the terrace, the lawn, the meadow, and the cornfield, all moon-flooded, and it seemed that I could see one of the figures standing there again, where it had stood before. Not the woman; the man—a dark shape, forming the figure of straw and corn, waiting. For what? I told myself that now I was really imagining, but I have since thought differently. Was it he, truly, the Harvest Lord?

I looked a moment longer, trying to make out the figure, and then it was gone. If it had returned at all. Or if it had ever been there. Getting back into bed, settling myself under the sheet, my head on the pillow, my arm around Beth’s shoulders, I pictured again the mysterious figure of the woman. Who was she? Or, rather, who was she
meant
to be? I recalled the Widow’s words about the riddle of the sphinx; now I had been provided with my own riddle to solve. I remember that the last thing I thought of were the old lady’s words:
A man must learn to discover what is possible.

Then I fell into a dreamless sleep.

TITHING DAY

One afternoon the following week I could hear the church clock striking five as I cleaned my brushes and palette and put my paints away. Then I rode my bike into the village to send off to my New York gallery some Polaroid prints of the bridge painting. I went into the post office, where Myrtil Clapp, the postmistress’s assistant, sold me a stamp. Attaching it, I saw the postmistress herself, making tea from a singing kettle on a hot plate set on some file cabinets at the rear. Beyond, in the back room, I could see Constable Zalmon, feet propped up on his desk, smoking his corncob pipe and thumbing through a copy of
Field and Stream
.

Tamar Penrose glanced up from her tea things and gave me one of her smoky looks. I lifted a hand in a brief salute, dropped the envelope into the slot, and went out.

I checked my watch against the steeple clock, noting the spasmodic activity around the Common as I crossed it. Mrs. Green went into the library with an armload of books. Jim Minerva loaded groceries into the back seat of his Volkswagen and drove off, heading south along Main Street. A farm wagon creaked by, Will Jones seated in it with the reins drooping between his hands. He pulled up outside the Rocking Horse and went in. With tinkling bells, the sheep baaed and moved from my path as I headed for the church on the opposite side.

Some of the younger village girls were going up the steps, and through the open vestibule doors I could hear the soft lilt of organ music from inside. Coming up onto the sidewalk, I saw Mrs. Buxley hurrying from the beauty parlor; Margie Perkin had been at her hair. She dithered her fingers as she hastened to greet me.

“
Lovely
day,” she said, as though she herself had fashioned it. And how was I, how were Beth and Kate, and how were my
lovely
paintings? Inside, choir practice began, and the bell-like sounds of the girls’ sopranos and altos floated out through the doors.

“
Lovely
sound, isn’t it? Our young girls are rehearsing for Tithing Day. You’ll be coming, surely.”

I said I hadn’t heard about Tithing Day, and she explained that next Sunday would be a special service when the village offered their token corn tithes to the church. An impressive ceremony; we were certain to find it rewarding.

“See you in church.” She dithered her fingers again and went into the vestibule. Amys Penrose came along, pushing his broom at the edge of the roadway, stopping when he got abreast of me to touch a finger to his hat brim. I waved to the Widow, whose buggy went creaking by on the far side of the Common. I had not seen her to talk to since the “experience,” the weekend before, and I was anxious to hear what she would have to say about the epiphany of the Harvest Lord and the unknown lady. With rattling wheels and rusty springs, the mare clip-clopping along the dusty roadway, she, too, headed south. In a moment, Kate came riding her horse out of the north end of Main Street; she went flying onto the Common where the terrified sheep moved from her path in a huddled, woolly mass. I called to her not to disturb them; she waved and rode on.

“What’s this Tithing Day Mrs. Buxley’s been telling me of?” I asked Amys.

“More nonsense,” came the succinct reply. He spat, his customary mark of disapproval. He wiped his mouth on his faded sleeve. “Could use a beer. I’m spittin‘ cotton.”

I could take a hint. I offered to join him at the Rocking Horse for a drink, and, leaving the pile of leaves he had swept up in the roadway, he shouldered his broom and we went along to the tavern. The room was crowded, smoke layered the air, and there was the agreeable hum of voices as the locals gathered in groups and exchanged the end-of-the-day news; behind the bar, Bert was busy filling orders. We pushed our way through to find a place in the corner at the end of the bar. I let Amys order his beer, then asked for my usual Scotch-and-soda.

Will Jones leaned against the center of the bar, talking to Fred Minerva, Ferris Ott, and several others. They nodded at me when I lifted my glass to them. As Harvest Home drew nearer, there was a feeling of camaraderie among the farmers, and from all sides news was furnished, items for discussion. Item: Old Mrs. Mayberry had died. Item: Mrs. Oates, the undertaker’s wife, had given birth to a boy. The village population was thus rebalanced. Item: What was Worthy Pettinger acting so all-fired cranky for these days: didn’t he know when he was well-off? Fred Minerva just wished his Jim could’ve got a crack at being Harvest Lord. Item: Justin Hooke’s rooster. Item: The weather. If it snowed before the second Wednesday in November, it would be a hard winter. Item: The hard winter of fourteen years ago. Item: The bad one. Item: The last Great Waste.

These topics variously reached our ears as I downed my drink and Amys his beer. When we had finished, I asked Bert for two more, then signaled him to pour a round for Fred, Will, Ferris, and the rest. They all thanked me, and when they had emptied their glasses they trooped out, Ferris Ott discussing with Fred Minerva the bad luck he’d had all year.

I turned back to Amys and contemplated him for a minute, then leaned toward him, adopting a careless tone but choosing my words carefully. “Tell me, Amys, how long have you been ringing the bell?”

“Eight ropes, maybe nine. That’s the length of time it’ll take to wear a rope out. Maybe six, seven years a rope, dependin‘ on how many’s born, how many dies.”