He never noticed before that the streetlights hum, a low frequency that burrows in behind his eyeballs. And even though it is afternoon and the lights are off, they seem to flare as he steps under them. The hum skips ahead to the next light, as if beckoning him. This way. And he’d swear he can hear a crackling music, a faraway voice calling to him like a radio that needs to be tuned in. He follows the path of the humming streetlights, going as fast as he can manage, but the crutch is unwieldy.
He turns down State and it leads him through the West Loop into the canyons of Madison Street, with skyscrapers looming forty stories high on either side. He passes through Skid Row, where two dollars might buy him a bed for a while, but the humming and the lights lead him on, into the Black Belt where the shabby jazz joints and cafés give way to cheap houses stacked on top of each other, with ragged children playing on the street and old men with hand-rolled cigarettes sitting on the steps, watching him balefully.
The street narrows and the buildings crowd in on one another, casting chill shadows over the sidewalk. A woman laughs from one of the upstairs apartments, the sound abrupt and ugly. There are signs everywhere he looks. Broken windows in the tenements, handwritten notices in the empty shop windows below: ‘Closed for business’, ‘Closed until further notice’, and once, just ‘Sorry’.
A briny clamminess comes in from the lake on the wind that cuts through the bleak afternoon and under his coat. As he gets deeper into the warehouse district, the people thin out, and then vanish altogether, and in their absence, the music swells, sweet and plaintive. And now he can make out the tune. ‘Somebody from Somewhere’. And the voice whispers, urgently, Keep on, keep on, Harper Curtis.
The music carries him over the railroad tracks, deep into the West Side and up the stairs of a worker’s lodging house, indistinguishable from the other wooden tenements in the row, shouldering in on each other, with peeling paint and boarded-up bay windows and a notice that reads ‘Condemned by the City of Chicago’ pasted up on the planks that have been nailed across the front doors in Xs. Make your mark for President Hoover right here, you hopeful men. The music is coming from behind the door of 1818. An invitation.
He reaches under the crossed planks and tries the door, but it’s locked. Harper stands on the step, full of the sense of a terrible inevitability. The street is utterly abandoned. The other houses are boarded up or their curtains are drawn tight. He can hear traffic a block over, a hawker selling peanuts. ‘Get ’em hot! Eat ’em on the trot!’, but it sounds dulled, as if coming through blankets wrapped around his head. Whereas the music is a sharp splinter that drives right through his skull: The key.
He sticks his hand in the pocket of the coat, suddenly terrified that he has lost it. He is relieved to find that it is still there. Bronze; printed with the mark Yale & Towne. The lock on the door matches up. Trembling, he slides it home. It catches.
The door swings open into darkness, and for a long, terrible moment, he stands paralyzed by possibilities. And then he ducks under the boards, negotiating his crutch, awkwardly, through the gap, and into the House.
Kirby
9 SEPTEMBER 1980
It’s that kind of day, crisp and clear, on the cusp of fall. The trees have mixed feelings about it; leaves showing green and yellow and brown all at the same time. Kirby can tell Rachel is stoned from a block away. Not just by the sweet smell hanging over the house (dead giveaway), but by the agitated way she is pacing the yard, fussing over something laid out in the overgrown grass. Tokyo is leaping and barking around her in excitement. She isn’t supposed to be home. She’s supposed to be away on one of her sojourns or ‘so-johns’ as Kirby used to call it when she was little. Okay, a year ago.
For weeks, she wondered if this So-John guy was her dad, and if Rachel was working up to take her to meet him, when Grace Tucker at school told her that a john was a word for a man who uses a prostitute, and that’s all her mother was. She didn’t know what a prostitute was, but she gave Gracie a blood-nose, and Gracie pulled out a clump of her hair.
Rachel thought it was hysterical, even though Kirby’s scalp was red and sore where the hair was gone. She didn’t mean to laugh, really, ‘but it is very funny.’ Then she’d explained it to Kirby the way she did everything, in a way that didn’t explain anything at all. ‘A prostitute is a woman who uses her body to take advantage of the vanity of men,’ she’d said. ‘And a sojourn is a revitalization of your spirit.’ But it turned out that wasn’t even close. Because a prostitute has sex for money, and a sojourn is a vacation from your real life, which is the last thing Rachel needs. Less vacationing, more real life, Mom.
She whistles for Tokyo. Five short sharp notes, distinctive enough to separate it from the calls everyone else uses for their dogs at the park. He comes bounding over, happy as only a dog can be. ‘Pure-bred mutt’ is how Rachel likes to describe him. Scrappy, with a long snout and patchwork sandy-and-white fur and creamy rings around his eyes. ‘Tokyo’ because when she grows up, she’s going to move to Japan and become a famous translator of haiku poetry and drink green tea and collect samurai swords. (‘Well, it’s better than Hiroshima’ is what her mother said.) She’s already started writing her own haiku. This is one:
Rocket ship lift-off
take me far away from here
the stars are waiting
This is another:
She would disappear
folded like origami
into her own dreams.
Rachel applauds enthusiastically whenever she reads her a new one. But Kirby has begun to think she could copy down the wording from the side of the Cocoa Krispies box, and her mother would cheer just as loudly, especially when she’s stoned, which is more and more often these days.
She blames So-John. Or whatever his name is. Rachel won’t tell her. As if she doesn’t hear the car pull up at 3 a.m. or the hissed conversations, unintelligible but fraught, before the door slams and her mother tries to tiptoe in without waking her. As if she doesn’t wonder where their rent money comes from. As if this hasn’t been going on for years.
Rachel has laid out every single one of her paintings – even the big one of Lady Shalott in her tower (Kirby’s favorite, not that she’d admit it), which is normally stowed at the back of the broom cupboard with the other canvases her mother starts, but never quite manages to finish.
‘Are we having a yard sale?’ Kirby asks, even though she knows the question will irritate Rachel.
‘Oh, honey,’ her mother gives her a distracted half-smile, the way she does when she’s disappointed in Kirby, which she seems to be all the time these days. Usually when she says things Rachel insists are too old for her. ‘You’re losing your child-like wonder,’ she’d told her two weeks ago, with a sharpness in her voice like it was the worst thing in the world.
Weirdly, when she gets into real trouble, Rachel doesn’t seem to mind. Not when she gets in fights at school or even when she set fire to Mr Partridge’s mailbox to pay him back for complaining about Tokyo digging up his sweetpeas. Rachel told her off, but Kirby could tell she was delighted. Her mother even put on a big pantomime, the two of them yelling at each other loud enough for that ‘self-righteous windbag next door’ to hear them through the walls, her mother screeching ‘Don’t you realize it’s a federal crime to interfere with the US mail service?’ before they collapsed in giggles, clamping their hands over their mouths.
Rachel points to a miniature painting positioned squarely between her bare feet. Her toenails are painted a bright orange that doesn’t suit her. ‘Do you think this one is too brutal?’ she asks. ‘Too red in tooth and claw?’
Kirby doesn’t know what that means. She struggles to tell her mother’s paintings apart. They’re all pale women with long flowing hair and mournful bug eyes too big for their heads in muddy landscapes of greens and blues and grays. No red at all. Rachel’s art reminds her of what Coach said to her in gym class, when she kept messing up the approach to the vaulting horse. ‘For Pete’
s sake, stop trying so hard!’
Kirby hesitates, not sure what to say in case she sets her off. ‘I think it’s just fine.’
‘Oh, but fine isn’t anything!’ Rachel exclaims and grabs her hands and pulls her into a stepping foxtrot over the paintings, twirling her round. ‘Fine is the very definition of mediocrity. It’s what’s polite. It’s what’s socially acceptable. We need to live brighter and deeper than just fine, my darling!’
Kirby squirms out of her grasp and stands looking down at all the beautiful sad girls with their skinny limbs reaching out like praying mantises. ‘Um,’ she says. ‘Do you want me to help you move the paintings back inside?’
‘Oh, honey,’ her mother says with such pity and scorn that Kirby can’t bear it. She runs inside, clattering up the porch stairs, and forgets to tell her about the man with the mousy hair and jeans pulled up too high and a skew nose like a boxer, who was standing in the shade of the sycamore next to Mason’s Filling Station, sipping a bottle of Coke through a straw and watching her. The way he looked at her made Kirby’s stomach flip like when you’re on the tilt-a-whirl, and it feels like someone has scooped out your insides.
When she waved vigorously, over-cheerful at him, like, Hey, mister, I see you staring at me, jerk-wad, he raised one hand in acknowledgement. And kept it up (super creepy) until she turned the corner up Ridgeland Street, skipping her usual shortcut through the alley, hurrying to get out of his sight.
Harper
22 NOVEMBER 1931
It’s like being a boy again, sneaking into the neighboring farmhouses. Sitting at the kitchen table in the quiet house, lying between the cool sheets of someone else’s bed, going through the drawers. Other people’s things tell their secrets.
He could always tell if someone was home; then and all the times he’s broken into abandoned houses since, to scrounge for food or some overlooked trinket to pawn. An empty house feels a certain way. Ripe with absence.
This House is full of expectation that makes the hair on his arms rise. There is someone in here with him. And it is not the dead body lying in the hallway.
The chandelier above the stairs casts a soft glow over dark wooden floors, gleaming with fresh polish. The wallpaper is new, a dark green and cream diamond pattern that even Harper can tell is tasteful. To the left is a bright modern kitchen, straight out of the Sears catalog, with melamine cupboards and a brand-new toaster oven and an icebox and a silver kettle on the stove, all laid out. Waiting for him.
He swings his crutch wide over the blood seeping like a carpet across the floorboards and limps around to get a better look at the dead man. He’s gripping a half-frozen turkey, the gray-pink flesh pimpled and smeared with gore. The fellow is thickset, in a dress shirt with suspenders, gray pants and smart shoes. No coat. His head has been pulped like a melon, but there is enough left to make out jowly cheeks with stubble and bloodshot blue eyes staring out of the mess of his face, wide in shock.
No coat.
Harper limps past the corpse, following the music into the parlor, half-expecting to find the owner, sitting in the upholstered chair in front of the fireplace, the poker he used to bash the man’s head in laid across his lap.
The room is empty. Although the fire is lit. And there is a poker beside the wood rack, stacked full, as if in anticipation of his arrival. The song spills from a gold-and-burgundy gramophone. The label on the record reads ‘Gershwin’. Of course. Through a crack in the curtains, he can see the cheap plywood nailed up over the windows, blocking out the daylight. But why hide this behind boarded-up windows and a condemned sign? To prevent other people finding it.
A crystal decanter filled with a honey-colored liquor has been set out next to a single tumbler on the side table. It’s on top of a lace-doily tablecloth. That will have to go, Harper thinks. And he will have to do something about the body. Bartek, he thinks, recalling the name the blind woman had said before he choked her.
Bartek never belonged here, the voice in his head says. But Harper does. The House has been waiting for him. It called him here for a purpose. The voice in his head is whispering home. And it feels like it, more than the wretched place he grew up or the series of flophouses and shacks he’s moved between all his adult life.
He props his crutch up against the chair and pours himself a glass of liquor from the decanter. The ice clinks as he swirls it. Only half-melted. He takes a slow draft, rolling it round his mouth, letting it burn down his throat. Canadian Club. Finest smuggled import, he toasts the air. It’s been a long time since he had anything to drink that didn’t have the bitter homebrew aftertaste of formaldehyde. It’s a long time since he sat on a chair that had cushioning.
He resists the chair, even though his leg is aching from the walking. Whatever fever propelled him is still burning. There’s more, right this way, sir, like a carnie barker. Step up, don’t miss out. It’s all waiting for you. Keep on, keep on, Harper Curtis.
Harper hauls himself up the steps, hanging on the balustrade that is so polished that he leaves handprints on the wood. Oily ghost impressions – already fading. He has to swing his foot up and round every time, his crutch dragging behind him. He is panting through his teeth at the effort.
He limps along the hallway, past a bathroom with a basin spattered with runnels of blood to match the towel in a soggy twist on the floor beside it, leaking pink across the shining black-and-white tiles. Harper pays no heed to this, nor to the stairs leading from the landing up to the attic, nor the spare room with the bed neatly made up, but the pillow dented.
The door to the main bedroom is closed. Shifting light stripes the floorboards through the gap underneath it. He reaches for the handle, half-expecting it to be locked. But it turns with a click and he nudges the door with the tip of his crutch. It opens onto a room bathed, inexplicably, in the glare of a summer afternoon. The furnishings are paltry. A walnut closet, an ironwork bed.
He squints against the sudden brightness outside and watches it change to thick rolling clouds and silvered dashes of rain, then to a red-streaked sunset, like a cheap zoetrope. But instead of a galloping horse or a girl saucily removing her stockings, it’s whole seasons whirring past. He can’t stand it. He goes to the window to pull the curtains shut, but not before he glimpses the tableau outside.
The houses across the way change. The paint strips away, recolors itself, strips away again through snow and sun and trash tangled with leaves blowing down the street. Windows are broken, boarded over, spruced up with a vase of flowers that turn brown and fall away. The empty lot becomes overgrown, fills over with cement, grass grows through the cracks in wild tufts, rubbish congeals, the rubbish is removed, it comes back, along with aggressive snarls of writing on the walls in vicious colors. A hopscotch grid appears, disappears in the sleeting rain, moves elsewhere, snaking across the cement. A couch rots through seasons and then catches fire.
He yanks the curtains closed, and turns and sees it. Finally. His destiny spelled out in this room.
Every surface has been defaced. There are artifacts mounted on the walls, nailed in or strung up with wire. They seem to jitter in a way that he can feel in the back of his teeth. All connected by lines that have been drawn over again and again, with chalk or ink or a knife tip scraped through the wallpaper. Constellations, the voice in his head says.
There are names scrawled beside them. Jinsuk. Zora. Willy. Kirby. Margo. Julia. Catherine. Alice. Misha. Strange names of women he doesn’t know.
Except that the names are written in Harper’s own handwriting.
It’s enough. The realization. Like a door opening up inside. The fever peaks and something howls through him, full of contempt and wrath and fire. He sees the faces of the shining girls and knows how they must die. The screaming inside his head: Kill her. Stop her.
He covers his face with his hands, dropping the crutch. He reels backwards and falls heavily onto the bed, which groans under his weight. His mouth is dry. His mind is full of blood. He can feel the objec
ts thrumming. He can hear the girls’ names like the chorus of a hymn. The pressure builds inside his skull until it’s unbearable.
Harper takes away his hands and forces himself to open his eyes. He hauls himself to his feet, using the bedpost for balance, and hobbles over to the wall where the objects pulse and flicker, as if in anticipation. He lets them guide him, reaching out his hand. There is one that seems sharper somehow. It nags at him, the way an erection does, with incontrovertible purpose. He has to find it. And the girl who comes with it.
It is as if he has spent his entire life in a drunken blur, but now the veil has been whipped away. It is the moment of pure clarity, like fucking, or the instant he opened up Jimmy Grebe’s throat. Like dancing in irradiated paint.
He picks up a piece of chalk that is lying on the mantel and writes on the wallpaper beside the window, because there is a space for it and it seems he must. He prints ‘Glowgirl’ in his jagged sloping script, over the ghost of the word that is already there.
Kirby
30 JULY 1984
She could be sleeping. At first glance. If you were squinting into the sun dappled through the leaves. If you thought her top was supposed to be a rusty brown. If you missed the flies thick as midges.
One arm is flung casually above her head, which is tilted fetchingly to one side, as if listening. Her hips are twisted the same way, her legs folded together, bent at the knee. The serenity of the pose belies the gaping wreck of her abdomen.
That carefree arm that makes her look so romantic lying amongst the tiny blue and yellow wildflowers, bears the marks of defensive wounds. The incisions on the middle joint of her fingers, down to the bone, indicate that she probably tried to grab the knife from her attacker. The last two fingers on her right hand are partially severed.
The skin on her forehead is split from the impact of multiple blows by a blunt object, possibly a baseball bat. But equally possibly the handle of an axe or even a heavy tree branch, none of which have been found at the scene.
The Shining Girls Page 3