Dinah was still asleep, but Peggy had news.
“Lord, men of the ninth clan came.”
“I saw them.”
“They brought a woman, white as thou.”
“I do not see her.”
Peggy led him to the edge of the rock and pointed. A single long canoe was moored in the middle of the channel.
“She hid,” said Peggy with a giggle. “She was ashamed when the men shouted.”
2
The ceremony proper didn’t begin until that curious quarter-hour when the whole marsh air turned to a glowing, coppery fog. It was like being inside a sunset cloud. At this time, Peggy said, witches are weakest, caught between world and world.
Proceedings began with an argument about seating arrangements. The dry-dung fires had been lit to drift their acid smoke around the rock-top, and the whole crowd had gathered, jostling, round the arena; but there was a certain orderliness in their behaviour for the first time that day; the men seemed to have grouped themselves into their seven clans, above each of which a resin-soaked torch of reeds flared and fumed. The women of the duck clan sat on the ground opposite the stone object, which was now decorated with a rope of shells of fresh-water mussels, and several small unmeaningful bits and bobs. Dinah had woken and Peggy had taken her down to the canoe and given her fruit. Now Morris led his wives, holding each one by the hand, towards the arena. Two clans bustled aside to clear a path for him, but began to mutter and grumble when he stopped level with their front rank and signed to Dinah to sit down. An old man with a weeping pink mess where his left eye should have been half-turned to him, and without looking at him directly said “The witches stand beside the house of spirits.”
“There is no witch,” Morris answered, even more loudly than he had intended.[1]
A puzzled mutter ran round the arena. The old man opened his mouth to speak again, but changed his mind and merely pointed. Dinah looked up and snickered at him.
“There is no witch,” said Morris again. He’d had plenty of time to wonder how he would face his accusation, but had not expected it to come so early. His previous attempts to argue about his supposed crime with Gaur, Dyal and Qab had, he now saw, foundered on a property of the marsh language, whereby the negative relation carried certain positive implications, so that to say “I am not a witch” had been to admit the possibility that he might be. Earlier Morris had been bound by his own feeling that the language and culture were sacrosanct, but now he didn’t care how many strands of that intricate old network he broke as he threshed to escape.
Curiously it was the children who first grasped what he was actually saying. He heard Peggy gasp, and at the same moment the child in her skin of paint began to whine. What, no witch, when she had spent eight hours putting her make-up on? The men on either side of Morris drew back still further, as if embarrassed by this faux pas. The old woman stopped her snivelling chant and listened while one of the other women whispered in her ear. She muttered what must have been an order, for as she snivelled on the women huddled together, active at something in their midst, whispering brief phrases. In an extraordinarily short time one of them stood up and walked slowly round the edge of the arena to the stone object, against which she set (with an action that reminded Morris strangely of the Queen laying wreaths at the Cenotaph) three crude mommets. They were identical, made of reed and cloth, without arms or legs. Only the narrowed neck between the round head and the long body made them human at all, but human they undoubtedly were—Dinah, Morris and Peggy, ready to stand trial for witchcraft.
The little orchestra of women struck up the overture on quite different instruments from the ones Morris had heard at the flood-going feasts; these were two long, thin drums, reed pipes and clay groaners. The old woman also groaned and began to shiver or rather to shudder. She sat to one side of the orchestra, and on the other knelt the two painted women and the painted girl, each with a little pot in front of her. The noise from the orchestra was a weird, continuous wheeze, unpatterned, as though a wild-life recording enthusiast had put his microphone against the stomach of some big beast with indigestion. The arena was an ellipse, with the orchestra at one end and the House of the Spirits, the stone object, at the other; all round the perimeter the black crowd jostled for position, but no one interfered with Morris’s view; they left a clear three feet all round him, like filings repelled by the pole of his presence. This was nothing to do with the hand of Na!ar dangling above his head—at least the fat man who carried the other hand was given only so much room as the bulge of his stomach cleared for him.
Suddenly the old woman’s shuddering came to a climax. Her withered limbs shook in the still air with a life of their own. She cried aloud a single word of her secret language—a command by the sound of it—then rigor gripped her. She toppled sideways and lay still.
Nobody paid any attention to her, because on her cry the two painted women jumped to their feet and began to dance; each held her pot in her left hand and used the right hand as a lid as she hopped round the arena in short, galvanic leaps, both feet together as if tied by a rope. They hopped in opposite directions, and the first to pass Dinah had the most extraordinary effect on her; she rushed away from the arena to the end of her leash, and when she could get no further she had what looked like an epileptic fit on the ground, writhing and sobbing. Morris moved back and knelt beside her, trying to calm her with his touch. Peggy came and squatted on the other side of her, frowning in the dusky light.
“Dinah is eaten with a spirit, Lord.”
“No. She was frightened by the dancing woman.”
“It is the spirit T!u who dances.”
“Peggikins, it is a woman covered in white paint.”
He regretted his words the moment he had said them—if the child was going to be killed, it would be easier for her if she accepted the whole grisly mummery as something true and real. He lifted Dinah, panting and whimpering, and carried her back to the arena, where she lay still with her head buried in his shoulder. Peggy took his free hand unasked.
The two women by now had reached the very centre of the arena and were standing back to back, jigging up and down; the noise of the orchestra seemed to change, but not in any meaningful way; the women jigged round until they faced each other and began to hop backwards; as soon as they were far enough apart to do so they bent almost double and, still hopping, started to take the contents from their pots and dribble them down on to the rock. It was a process that reminded Morris of something-yes, a gardener sowing seed along the line of a drill—but the women moved not in straight lines but in two outward moving spirals like the arms of a nebula, leaving their trail of whatever it was behind them, bent double, hopping all the time. It must have been killingly exhausting, but they kept it up for twenty minutes until they reached their place by the orchestra.
The music changed again. The women put their pots down and picked up the child, who held her own pot cradled in her white arms; they carried her to the middle of the arena where they left her kneeling. The orchestra stopped playing and the child opened her mouth and sang a thin and tuneless chant in the secret language, rocking her body to and fro with the pot huddled against her chest. The chant was short, but she repeated and repeated it until Morris could discern the grammatical form under the meaningless words. In English it might have gone:
The —— comes to ——
It ——s into the ——
It ——s this and that
It ——s to and fro
Ai!
It ——s the ——.
While she was singing it for the fifth or sixth time, watched in total silence by the hitherto restless crowd, a flood of fear washed suddenly into Morris, filling every creek of his being, as strong and uncontrollable as nausea. His tongue seemed to stick to his palate; it made a sucking noise as he wrenched it away with his throat-muscles
and clung back as soon as he relaxed. He shut his eyes and bowed his head, filled with furry darkness. Only the touch of Dinah’s head against his cheek meant anything other than this gulping dread, which wasn’t even dread of pain and death, but was as though a vast invisible bird had nestled down on to the rock, covering him with its stuffing feathers of fear. He loosed Peggy’s hand and teased the back of Dinah’s head, unconsciously at first but slowly gathering out of her a vague comfort that enabled him at last to look up again and face his trial. As he did so the girl broke off her chant in mid syllable.
She stiffened. Her head went back. Her mouth was open and her eyes stared. One drum beat, very slowly. The girl rose to her feet as though the sound jerked her upwards and with a strange mannish gait started to strut round the arena. At one drum-beat she thrust her hand into the pot; at the next she drew it out; at the third she tossed whatever she was holding out across the arena. She moved widdershins round the outside of the circle, throwing with her left hand towards the middle something that fell with a light rattle on to the rock. Again it was a motion like seed-sowing, but this time that of a Victorian sower broadcasting his wheat-seed across a field. The crowd on either side of Morris seemed to shrink back a little when she was throwing in their direction, and then to relax again when the danger was past; but in fact all the little projectiles fell well short—it must have been a very practised performance, for all that the girl moved like a creature controlled by powers outside her.
By now it was almost dark. The girl did two circuits and stopped near the orchestra. The stiffness went out of her. She dropped the empty pot with a crash and at the same moment looked down at her left hand and started to wail, a real child in real pain. Two women ran out of the shadows and pulled her down beside a larger bowl, where they sponged at the paint on her arm, using bits of cloth on the end of reeds; the arm itself seemed to be twisting about as if there were no bones in it, but they were careful not to touch it with anything except their cloths. The wailing diminished, but Morris in his daze of fear, though he shut his eyes, seemed to see the arm grow monstrous, a snake with fingers at the end, or the leafless limb of a dead tree. He realised that once the old woman with the withered side might have been just such a girl, tossing out poisoned seed at a witch-finding, wailing as the poison penetrated the thick paint and began to bite like fire into the young flesh, starting the process that would one day wither the whole side . . .
But when he looked up he saw that two men were standing over the inert form of the old woman, prodding her with the butt end of their spears. A mild hum of talk had broken out, such as civilised people produce between items at a concert. He shifted Dinah to his other hip and as he did so let her see that the white leaping things that had given her the horrors had vanished from the arena. She chattered a little and blew in his ear, then wriggled to be put down; so he settled her at his feet, fixed her leash and stood on it, so that she could only move a couple of feet; contentedly she began to fasten and unfasten the buckle of his sandals.
One of the painted women came back into the arena wearing on her feet two thick little reed mats which prevented her soles from touching the poison-seed; she carried half a dozen flat dishes which she placed at various points in the arena; then she fetched a big gourd and poured water out of it into the bowls—all this without any ceremony, as though she were preparing a meal in her own hut. Then she went back to the shadows.
At last the old woman stirred, groaning. The men who had been prodding her stood back and watched as she rolled on to her stomach and pushed herself with her good hand into a sitting posture. She called out, quite strongly, in the secret language, and a cry answered from the dark. A woman brought a closed wicker basket and put it in front of her. She shuddered again and sang a short, fierce invocation in the secret language, waving her good hand to and fro over the basket. The woman with the mats on her feet then carried it to the exact centre of the arena, where she lowered a flap in its side and retreated. Total silence fell again. The night was now dark, and the mists beginning to clear from the dull moon; the seven torches burnt yellowish-orange, with sudden spurts of green; the ring of jet-black bodies seemed to absorb most of the little light they gave. Morris peered at the meaningless basket.
Something moved at the opening and immediately the orchestra struck up a series of quavering hoots and whistles, backed by a dull pattering on the drums. Hesitantly the duck stepped out into the open.
It was quite a presentable creature, something like a female mallard but larger. Its wing, as far as Morris could see, was not broken but lashed to its side. Once out in the wavering torchlight it lost its shyness, cocked its head a little sideways and peered about, then darted forward and scooped up a few seeds from the rock. The marshmen sighed. The old woman craned forward, her little eyes glistening in the flames. The duck, with absurd confidence, began to follow one of the spiralling trails of seed, but suddenly darted aside for a drink of water from the nearest dish. When it had drunk, raising its head to the moon to swallow each sip, it wandered about until it hit on another trail of seed, which it again began to follow round the spiral. Morris had another of his attacks of sick fear. Dry-mouthed and gulping he tried to work out where the girl had thrown the seed from her pot. In his mind’s eye he could see her white, ghastly figure, with its drab aureole, strutting round the arena. He could envisage the jerky arc of her sowing-arm. But he couldn’t calculate where the seeds might have fallen—more towards the outside than the inside, he thought.
Slowly the watchers became more intent. The bird, after various meanderings, was now pecking among the seeds which had fallen over to Morris’s right, not quite where the three mommets sat, but uncomfortably close to them—supposing the oracle was worked by mere proximity—part of the terror was the meaninglessness of the whole procedure—if he had known what the duck’s movements meant, and how they could be read, he’d have had fixed points to pin his fears on, to reduce them to rational order, to master them, even. But . . . why, I haven’t even been accused of anything, he thought. Let alone given a chance to answer. The hell with them!
For the moment resentment overcame his fear, and he peered with hot eyes at the duck filling its crop with gusto, pausing only for sips at the water-dishes. The savages followed its progress with a sort of aware concentration which also infuriated him. They knew what was happening, goddammit.
“Oh, get on with it,” he whispered. “For Christ’s sake get on with it!”
Almost as his lips moved the bird’s actions altered. It darted towards a bowl of water, missed and performed its gulp and swallow in dry air. The whole crowd hissed with indrawn breath. The old woman cried aloud. The orchestra began to make as much noise as its instruments would permit, but this was immediately drowned by the shouts of the audience, everybody bellowing at the top of their lungs. He felt a movement at his side and glanced down to see Peggy skipping with excitement and whooping too. The bird was now straight in front of the mommets, staggering around, gulping and swallowing at nothing. It almost fell but recovered, and with a wild flapping of its free wing darted in an arc towards Morris himself, collided with one of the water-dishes, swung away and crashed headlong into the side of the basket in the centre of the arena. The basket fell on its side and rolled away. The bird also fell, on to its back. Its feet paddled at air for a moment and its free wing flapped twice. And then it was dead, as stiff as if it had dropped frozen out of the sky.
The shouting died only slowly. Two women with brooms of reed swept a path to the duck’s body, and two others picked the old woman up and carried her there. One of the painted women brought dry reeds, and the other a flaming rush-light to light them. The old woman pulled some feathers out of the duck and threw them on the flames, watching intently as they curled and stank and became ash. One of the painted women knelt beside her and with a sliver of flint slit open the duck’s belly by the vent and teased the entrails out. While the old w
omen smelt and fingered them the crowd talked, in a relaxed but expert way, about the trial. Morris caught fragments from the two nearer clans . . . Wah, that was a brave duck . . . the spirits are strong . . . Tchinai finds the trail hard to read . . . do you remember that she-witch from the garfish clan . . . in my father’s day they caught fierce witches . . . the duck found death close by the House of Spirits . . . No, by the centre . . . it is a hard trail . . . but wah, it was a brave duck . . .
Soon he was yawning. The tension that should have been there was gone out of him, replaced by a dreary sense of uselessness and moral exhaustion. Apathetically he squatted down and teased Dinah’s fur for a while, and then played which-hand with her. Peggy sat and watched the game, but kept glancing at the arena, where the two women with brooms were now meticulously sweeping the whole surface, scooping up the little heaps of seed they made on to flat leaves and throwing them on to the fire, where they stank with a new and strangely chemical smell. Three of the torches had burnt out and were not re-lit. Time passed.
At last there was a fresh stirring of interest. Morris stood and saw the old woman being lifted to her feet. The clans surged forward to surround her, a jostling mob of which Morris wanted no part, so he stayed where he was. Not long now, he told himself. Soon be over. Probably won’t hurt at all.
Suddenly a roar of angry voices broke out round the old woman. A thin man disentangled himself and rushed at Morris with his spear raised and its poison-tip unsheathed; but he was slowed by some deformity of his leg and as Morris cringed another man caught up with him and snatched the spear from behind; it was the second man who actually threw the weapon, not at Morris but out into the dark, over the cliff; he was Fau.
The Poison Oracle Page 17