Ivory and the Horn (2 page)
Read Ivory and the Horn Online
Authors: Charles de Lint
S
AXOPHONE
J
OE AND THE
W
OMAN IN
B
LACK
W
HERE
D
ESERT
S
PIRITS
C
ROWD THE
N
IGHT
FATHER, O FATHER, WHAT DO WE HERE
IN THIS LAND OF UNBELIEF AND FEAR?
THE LAND OF DREAMS IS BETTER FAR,
ABOVE THE LIGHT OF THE MORNING STAR.
—WILLIAM BLAKE
WE ARE ALL IN THE GUTTER, BUT SOME
OF US ARE LOOKING AT THE STARS.
—OSCAR WILDE
W
AIFS AND
S
TRAYS
Do I have to dig,
Do I have to prod;
Reach into your chest
And pull your feelings out?
—Happy Rhodes, from “Words Weren’t Made for Cowards”
1
There’s a big moon glowing in the sky, a swollen circle of silvery-gold light that looks as though it’s sitting right on top of the old Clark Building, balancing there on the northeast corner where the twisted remains of a smokestack rises up from the roof like a long, tottery flagpole, colors lowered for the night, or maybe like a tin giant’s arm making some kind of semaphore that only other tin giants can understand. I sure don’t.
But that doesn’t stop me from admiring the silhouette of the smokestack against that fat moon as I walk through the rubble-strewn streets of the Tombs. I feel like a stranger and I think, That moon’s a stranger, too. It doesn’t seem real; it’s more like the painted backdrop from some forties soundstage, except there’s no way anybody ever gave paint and plywood this kind of depth. We’re both strangers. That moon looks like it might be out of place anywhere, but I belonged here once.
Not anymore, though. I’m not even supposed to be here. I’ve got responsibilities now. I’ve got duties to fulfill. I should be Getting Things Done like the good little taxpaying citizen I’m trying to be, but instead I’m slumming, standing in front of my old squat, and I couldn’t tell you why I’ve come. No, that’s not quite right. I know, I guess; I just can’t put it into words.
“You’ve got to see the full moon in a country sky sometime,” Jackie told me the other day when she got back from her girlfriend’s cottage. “It just takes over the sky.”
I look up at it again and don’t feel that this moon’s at all diminished by being here. Maybe because in many respects this part of the city’s just like a wilderness—about as close to the country as you can get in a place that’s all concrete and steel. Some people might say you’d get that feeling more in a place like Fitzhenry Park, or on the lakefront where it follows the shoreline beyond the Pier, westward, out past the concession stands and hotels, but I don’t think it’s quite the same. Places like that are where you can only pretend it’s wild; they look right, but they were tamed a long time ago. The Tombs, though, is like a piece of the city gone feral, the wild reclaiming its own—not asking, just taking.
In this kind of moonlight, you can feel the wilderness hiding in back of the shadows, lips pulled in an uncurbed, savage grin.
I think about that as I step a little closer to my old squat and it doesn’t spook me at all. I find the idea kind of liberating. I look at the building and all I see is a big, dark, tired shape hulking in the moonlight. I like the idea that it’s got a secret locked away behind its mundane facade, that’s there’s more to it than something that’s been used up and then just tossed away.
Abandoned things make me feel sad. For as long as I can remember I’ve made up histories for them, cloaked them in stories, seen them as frog princes waiting for that magic kiss, princesses being tested with a pea, little engines that could if only they were given half a chance again.
But I’m pragmatic, too. Stories in my head are all well and fine, but they don’t do much good for a dog that some guy’s tossed out of a car when he’s speeding through the Tombs and the poor little thing breaks a leg when it hits the pavement so it can’t even fend for itself—just saying the feral dogs that run in these streets give it half a chance, When I can—if I get to it in time—I’m the kind of person who’ll take it in.
People have tried to take me in, but it never quite works out right. Bad genes, I guess. Bad attitude. It’s not the kind of thing I ever worried about much till the past few weeks.
I don’t know how long I’ve been standing on the street, not even seeing the building anymore. I’m just here, a small shape in the moonlight, a stray dream from the safe part of the city that got lost and found itself wandering in this nightland that eats small dreams, feeds on hopes. A devouring landscape that fed on itself first and now preys on anything that wanders into its domain.
I never let it have me, but these days I wonder why I bothered. Living in the Tombs isn’t much of a life, but what do you do when you don’t fit in anywhere else?
I start to turn away, finally. The moon’s up above the Clark Building now, hanging like a fat round flag on the smokestack, and the shadows it casts are longer. I don’t want to go, but I can’t stay. Everything that’s important to me isn’t part of the Tombs anymore.
The voice stops me. It’s a woman’s voice, calling softly from the shadows of my old squat.
“Hey, Maisie,” she says.
I feel like I should know her, this woman sitting in the shadows, but the sense of familiarity I get from those two words keeps sliding away whenever I reach for it.
“Hey, yourself,” I say.
She moves out into the moonlight, but she’s still just a shape. There’s no definition, nothing I can pin the sliding memories onto. I get an impression of layers of clothing that make a skinny frame seem bulky, a toque pulled down over hair that might be any color or length. She’s dressed for winter though the night’s warm and she’s got a pair of shopping bags in each hand.
I’ve known a lot of street people like that. Hottest day of the summer and they still have to wear everything they own, all at once. Sometimes it’s to protect themselves from space rays; sometimes it’s just so that no one’ll steal the little they’ve got to call their own.
“Been a long time,” she says, and then I place her.
It’s partly the way she moves, partly the voice, partly just the shape of her, though in this light she doesn’t look any different from a hundred other bagladies.
The trouble is, she can’t possibly wear the name I call up to fit her because the woman it used to belong to has been dead for four years. I know this, logically, intellectually, but I can’t help trying it on for size all the same.
“Shirl?” I say. “Is that you?”
Shirley Jones, who everybody on the street knew as Granny Buttons because she carried hundreds of them around in the many pockets of her dresses and coats.
The woman on the street in front of me bobs her head, sticks her hands in the pockets of the raincoat she’s wearing over all those layers of clothing, and I hear the familiar rattle of plastic against wood against bone, a soft
clickety-clickety-click
that I never thought I’d hear again.
“Jesus, Shirley—”
“I know, child,” she says. “What am I doing here when I’m supposed to be dead?”
I’m still not spooked. It’s like I’m in a dream and none of this is real, or at least it’s only as real as the dream wants it to be. I’m just happy to see her. Granny Buttons was the person who first taught me that “family” didn’t have to be an ugly word.
She’s close enough now that I can even see some of her features. She doesn’t look any different than she did when she died. She’s got the same twinkle in her brown eyes—part charm and part crazy. Her coffee-colored skin’s as wrinkled as a piece of brown wrapping paper that you’ve had in your back pocket for a few days. I see it isn’t a toque she’s wearing, but that same almost conical velour cap she always wore, her hair hanging out from below in dozens of unwashed, uncombed dreadlocks festooned with tiny buttons of every shape and description. She still smells the same as well—a combination of rosehip sachet and licorice.
I want to hug her, but I’m afraid if I touch her she’ll just drift apart like smoke.
“I’ve missed you,” I say.
“I know, child.”
“But how… how can you
be
here… ?”