Ghost

by Louise Welsh

  On January 9th, shortly after eleven on a dark sleety morning, I saw my dead father on a train pulling out of Clapham Junction, bound for Waterloo.

  I glanced away, not recognising him at once. We were on parallel tracks. When I looked back, the train had picked up speed, and carried him away.

  My mind at once moved ahead, to the concourse at Waterloo Station, and the meeting which I felt sure must occur. The train on which he was travelling was one of the old six-seater-carriage-and-corridor type, its windows near-opaque with the winter’s accumulation, and a decade of grime plastered to its metal. I wondered where he’d come from: Windsor? Ascot? You’ll understand that I travel in the region a good deal, and one gets to know the rolling stock.

  There were no lights in the carriage he had chosen. (The bulbs are often stolen or vandalised.) His face had an unpleasant tinge; his eyes were deeply shadowed, and his expression was thoughtful, almost morose.

  At last released by the green signal, my own train began to draw forward. Its pace was stately and I thought that he must have a good seven minutes on me, certainly more than five.

  As soon as I saw him, sitting sad but upright in that opposite carriage, my mind went back to the occasion when… to the occasion when… But no. It did not go back. I tried, but I could not find an occasion. Even when I scrubbed the recesses of my brain, I could not scour one out. I should like to be rich in anecdote. Fertile to invent. But there’s no occasion, only the knowledge that a certain number of years have passed.

  When we disembarked the platform was slick with cold, sliding underfoot. The bomb warnings were pasted up everywhere, also the beggar warnings, and posters saying take care not to slip or trip, which are insulting to the public, as few people would do it if they could help it: only some perhaps, a few attention-seekers. An arbitrary decision had placed a man to take tickets, so that was fumbling, and further delay. I was irritated by this; I wanted to get on with the whole business, whatever the business was going to be.

  It came to me that he had looked younger, as though death had moved him back a stage. There had been in his expression, melancholy though it was, something purposive; and I was sure of this, that his journey was not random. And so it was this perception, rather than any past experience – is experience always past? – that made me think he might linger for a rendezvous, that moving towards me and then away, on his Basingstoke train or perhaps from as far as Southampton, he might make time for a meeting with me.

  I tell you this: if you are minded to unite at Waterloo Station, lay your plans well and in advance. Formalise in writing, for extra caution. I stood still, a stone in the rude stream, as the travellers crashed and surged around me. Where might he go? What might he want? (I had not known, God help me, that the dead were loose.) A cup of coffee? A glance at the rack of best-selling paperbacks? An item from Boots the Chemist, a cold cure, a bottle of some aromatic oil?

  Something small and hard, that was inside my chest, that was my heart, drew smaller then. I had no idea what he would want. The limitless possibilities that London affords… if he should bypass me and find his way in to the city… but even then, among the limitless possibilities, I could not think of a single thing that he might want.

  *

  So I hunted for him, peeping into W.H. Smith and the Costa Coffee boutique. My mind tried to provide occasions to which it could go back, but none occurred. I coveted something sweet, a glass of hot chocolate to warm my hands, an Italian wafer dusted with cocoa powder. But my mind was cold and my intention urgent.

  It struck me that he might be leaving for the Continent. He could take the train from here to Europe, and how would I follow? I wondered what documents he would be likely to need, and whether he bore currency. Are dispensations different? As ghosts, can they pass the ports? I thought of a court of shadow ambassadors, with shadow portfolios tucked within their silks.

  There is a rhythm – and you know this – to which people move in any great public space. There is a certain speed which is no one’s decision, but which is set going every day, soon after dawn. Break the rhythm and you’ll rue it, for you’ll be kicked and elbows will collide. Brutal British mutter of sorry, oh sorry – except often travellers are too angry I find for common politeness, hesitate too long or limp and you will be knocked out of the way. It occurred to me for the first time that this rhythm is a mystery indeed, controlled not by the railways or the citizens but by a higher power: that it is an aid to dissimulation, a guide to those who would otherwise not know how to act.

  For how many of all these surging thousands are solid, and how many of these assumptions are tricks of the light? How many, I ask you, are connected at all points, how many are utterly and convincingly in the state they purport to be: which is, alive? That lost, objectless, sallow man, a foreigner with his bag on his back; that woman whose starved face recalls a plague-pit victim? Those dwellers in the brown houses of Wandsworth, those denizens of balcony flats and walkways; those grumbling commuters gathered for Virginia Water, those whose homes perch on embankments, or whose roofs glossy with rain fly away from the traveller’s window? How many?

  For distinguish me, will you? Distinguish me “the distinguished thing”. Render me the texture of flesh. Pick me what it is, in the timbre of the voice, that marks out the living from the dead. Show me a bone that you know to be a living bone. Flourish it, will you? Find one, and show me.

  *

  Moving on, I stared over the chill cabinet with its embalmed meals for travellers. I caught a glimpse of a sleeve, of an overcoat which I thought might be familiar, and my narrow heart skipped sideways. But then the man turned, and his face was sodden with stupidity, and he was someone else, and less than I required him to be.

  Not many places were left. I looked at the pizza stand but I did not think he would eat in a public place, and not anything foreign. (Again my mind darted forward to the Gare du Nord and the chances of catching up.) The bureau de change I’d already checked, and had scooped aside the curtain of the photograph booth, which seemed empty at the time but I had thought it might be a trick or a test.

  So nowhere then. Dwelling again on his expression – and you will remember I saw it only for a moment, and in shadows – I discerned something that I did not see at first. It seemed, almost, that his look was turning inward. There was a remoteness, a wish for privacy: as if he were the warden of his own identity.

  Suddenly – the thought born in a second – I understood: he is travelling incognito. Shame and rage then made me lean back against plate glass, against front window of bookshop; aware that my own image swims behind me, and that my ghost, in its winter cloak, is forced into the glass, forced there and fixed for any passer to stare at, living or dead, as long as I have not strength or power to move. My morning’s experience, till then unprocessed and scantily observed, now arrived inside me. I had raised my eyes, I had lifted my gaze, I had with naked curiosity looked into the carriage on the parallel track, and by indecent coincidence I had happened to see a thing I should never have seen.

  It seemed urgent now to go into the city and to my meeting. I gathered my cloak about me, my customary suit of solemn black. I looked in my bag to pat that all my papers were in order. I went to a stall and handed over a pound coin, for which I was given a pack of paper handkerchiefs in a plastic sheath as thin as skin, and using my nails I tore it till the membrane parted, and the paper itself was under my hand: it was a provision, in case of unseemly tears. Though paper reassures me, its touch. It’s what you respect.

  This is a bleak winter. Even old people admit it is more frigid than the usual, and it is known that as you stand in the taxi queue the four winds sting your eyes. I am on my way to a chilly room, where men who might have been my father but more fond will resolve some resolutions, transact some transactions, agree on the minutes: I notice how easily, in most cases, committees agree the minutes, but when we are singular and living our separate lives we dispute – don’t we? – each second we believe we
own. It’s not generally agreed, it’s not much appreciated, that people are divided by all sorts of things, and that, frankly, death is the least of them. When lights are blossoming out across the boulevards and parks, and the town assumes its Victorian sagesse, I shall be moving on again. I see that both the living and the dead commute, riding their familiar trains. I am not, as you will have gathered, a person who needs false excitement, or simulated innovation. I am willing, though, to tear up the timetable and take some new routes; and I know I shall find, at some unlikely terminus, a hand that is meant to rest in mine.

  THE SPECIALIST’S HAT

  Kelly Link

  Kelly Link (b.1969) was born in Miami, Florida. She is a graduate of Columbia University and the MFA program of UNC Greensboro. She is co-founder of Small Beer Press and the author of four collections of short stories, Stranger Things Happen, Magic for Beginners, Pretty Monsters, and Get in Trouble. Link lives with her husband and daughter in Northampton, Massachusetts.

  “When you’re Dead,” Samantha says, “you don’t have to brush your teeth…”

  “When you’re Dead,” Claire says, “you live in a box, and it’s always dark, but you’re not ever afraid.”

  Claire and Samantha are identical twins. Their combined age is twenty years, four months, and six days. Claire is better at being Dead than Samantha.

  The babysitter yawns, covering up her mouth with a long white hand. “I said to brush your teeth and that it’s time for bed,” she says. She sits cross-legged on the flowered bedspread between them. She has been teaching them a card game called Pounce, which involves three decks of cards, one for each of them. Samantha’s deck is missing the Jack of Spades and the Two of Hearts, and Claire keeps on cheating. The babysitter wins anyway. There are still flecks of dried shaving cream and toilet paper on her arms. It is hard to tell how old she is – at first they thought she must be a grownup, but now she hardly looks older than they. Samantha has forgotten the babysitter’s name.

  Claire’s face is stubborn. “When you’re Dead,” she says, “you stay up all night long.”

  “When you’re dead,” the babysitter snaps, “it’s always very cold and damp, and you have to be very, very quiet or else the Specialist will get you.”

  “This house is haunted,” Claire says.

  “I know it is,” the babysitter says. “I used to live here.”

  Something is creeping up the stairs,

  Something is standing outside the door,

  Something is sobbing, sobbing in the dark;

  Something is sighing across the floor.

  Claire and Samantha are spending the summer with their father, in the house called Eight Chimneys. Their mother is dead. She has been dead for exactly 282 days.

  Their father is writing a history of Eight Chimneys, and of the poet, Charles Cheatham Rash, who lived here at the turn of the century, and who ran away to sea when he was thirteen, and returned when he was thirty-eight. He married, fathered a child, wrote three volumes of bad, obscure poetry, and an even worse and more obscure novel, The One Who Is Watching Me Through the Window, before disappearing again in 1907, this time for good. Samantha and Claire’s father says that some of the poetry is actually quite readable, and at least the novel isn’t very long.

  When Samantha asked him why he was writing about Rash, he replied that no one else had, and why didn’t she and Samantha go play outside. When she pointed out that she was Samantha, he just scowled and said how could he be expected to tell them apart when they both wore blue jeans and flannel shirts, and why couldn’t one of them dress all in green and the other pink?

  Claire and Samantha prefer to play inside. Eight Chimneys is as big as a castle, but dustier and darker than Samantha imagines a castle would be. There are more sofas, more china shepherdesses with chipped fingers, fewer suits of armor. No moat.

  The house is open to the public, and, during the day, people – families – driving along the Blue Ridge Parkway will stop to tour the grounds and the first story; the third story belongs to Claire and Samantha. Sometimes they play explorers, and sometimes they follow the caretaker as he gives tours to visitors. After a few weeks, they have memorized his lecture, and they mouth it along with him. They help him sell postcards and copies of Rash’s poetry to the tourist families who come into the little gift shop. When the mothers smile at them, and say how sweet they are, they stare back and don’t say anything at all. The dim light in the house makes the mothers look pale and flickery and tired. They leave Eight Chimneys, mothers and families, looking not quite as real as they did before they paid their admissions, and of course Claire and Samantha will never see them again, so maybe they aren’t real. Better to stay inside the house, they want to tell the families, and if you must leave, then go straight to your cars.

  The caretaker says the woods aren’t safe.

  Their father stays in the library on the second story all morning, typing, and in the afternoon he takes long walks. He takes his pocket recorder along with him, and a hip flask of Old Kentucky, but not Samantha and Claire.

  The caretaker of Eight Chimneys is Mr. Coeslak. His left leg is noticeably shorter than his right. Short black hairs grow out of his ears and his nostrils, and there is no hair at all on top of his head, but he’s given Samantha and Claire permission to explore the whole of the house. It was Mr. Coeslak who told them that there are copperheads in the woods, and that the house is haunted. He says they are all, ghosts and snakes, a pretty badtempered lot, and Samantha and Claire should stick to the marked trails, and stay out of the attic.

  Mr. Coeslak can tell the twins apart, even if their father can’t; Claire’s eyes are grey, like a cat’s fur, he says, but Samantha’s are gray, like the ocean when it has been raining.

  Samantha and Claire went walking in the woods on the second day that they were at Eight Chimneys. They saw something. Samantha thought it was a woman, but Claire said it was a snake. The staircase that goes up to the attic has been locked. They peeked through the keyhole, but it was too dark to see anything.

  And so he had a wife, and they say she was real pretty. There was another man who wanted to go with her, and first she wouldn’t, because she was afraid of her husband, and then she did. Her husband found out, and they say he killed a snake and got some of this snake’s blood and put it in some whiskey and gave it to her. He had learned this from an island man who had been on a ship with him. And in about six months snakes created in her and they got between her meat and the skin. And they say you could just see them running up and down her legs. They say she was just hollow to the top of her body, and it kept on like that till she died. Now my daddy said he saw…

  – An Oral History of Eight Chimneys

  Eight Chimneys is over two hundred years old. It is named for the eight chimneys which are each big enough that Samantha and Claire can both fit in one fireplace. The chimneys are red brick, and on each floor there are eight fireplaces, making a total of twenty-four. Samantha imagines the chimney stacks stretching like stout red tree trunks, all the way up through the slate roof of the house. Beside each fireplace is a heavy black firedog, and a set of wrought iron pokers shaped like snakes. Claire and Samantha pretend to duel with the snake-pokers before the fireplace in their bedroom on the third floor. Wind rises up the back of the chimney. When they stick their faces in, they can feel the air rushing damply upward, like a river. The flue smells old and sooty and wet, like stones from a river.

  Their bedroom was once the nursery. They sleep together in a poster bed which resembles a ship with four masts. It smells of mothballs, and Claire kicks in her sleep. Charles Cheatham Rash slept here when he was a little boy, and also his daughter. She disappeared when her father did. It might have been gambling debts. They may have moved to New Orleans. She was fourteen years old, Mr. Coeslak said. What was her name, Claire asked. What happened to her mother, Samantha wanted to know. Mr. Coeslak closed his eyes in an almost wink. Mrs. Rash had died the year before her husband and daughter disapp
eared, he said, of a mysterious wasting disease. He can’t remember the name of the poor little girl, he said.

  Eight Chimneys has exactly one hundred windows, all still with the original wavery panes of handblown glass. With so many windows, Samantha thinks, Eight Chimneys should always be full of light, but instead the trees press close against the house, so that the rooms on the first and second story – even the third-story rooms – are green and dim, as if Samantha and Claire are living deep under the sea. This is the light that makes the tourists into ghosts. In the morning, and again towards evening, a fog settles in around the house. Sometimes it is grey like Claire’s eyes, and sometimes it is gray, like Samantha’s.

  I met a woman in the wood,

  Her lips were two red snakes.

  She smiled at me, her eyes lewd

  And burning like a fire.

  A few nights ago, the wind was sighing in the nursery chimney. Their father had already tucked them in, and turned off the light. Claire dared Samantha to stick her head into the fireplace, in the dark, and so she did. The cold wet air licked at her face, and it almost sounded like voices talking low, muttering. She couldn’t quite make out what they were saying.

  Their father has mostly ignored Claire and Samantha since they arrived at Eight Chimneys. He never mentions their mother. One evening they heard him shouting in the library, and when they came downstairs, there was a large sticky stain on the desk, where a glass of whiskey had been knocked over. It was looking at me, he said, through the window. It had orange eyes.

  Samantha and Claire refrained from pointing out that the library is on the second story.

  At night, their father’s breath has been sweet from drinking, and he is spending more and more time in the woods, and less in the library. At dinner, usually hot dogs and baked beans from a can, which they eat off of paper plates in the first floor dining room, beneath the Austrian chandelier (which has exactly 632 leaded crystals shaped like teardrops), their father recites the poetry of Charles Cheatham Rash, which neither Samantha nor Claire cares for.