Fins off, Carlo sat on the staircase and dripped. Taku and Hamada scrambled through the window and joined him. They conversed for a moment in Japanese, clearly excited. Carlo stared at them blackly.
Hamada turned to him. "That here is the picture we desire," he said. "The Madonna with child."
"What?" Carlo cried.
Hamada raised his eyebrows. "We desire taking home that here picture to Japan."
"But it's impossible! The picture is made of little tiles stuck to the wall—there's no way to get them off!"
"Italy government permits," Taku said, but Hamada silenced him with a gesture.
"Mosaic, yes. We use instruments we take here—water torch. Archaeology method, you understand. Cut blocks out of wall, bricks, number them—construct on new place in Japan. Above water." He flashed his pearly smile.
"You can't do that," Carlo stated, deeply affronted.
"I don't understand," Hamada said. But he did. "Italian government permits us that."
"This isn't Italy," Carlo said savagely, and in his anger stood up. What good would a Madonna do in Japan, anyway? They weren't even Christian. "Italy is over there," he said, in his excitement mistakenly waving to the southeast, no doubt confusing his listeners even more. "This has never been Italy! This is Venice! The Republic!"
"I don't understand." He had that phrase down pat. "Italian government has giving permit us."
"Christ," Carlo said. After a disgusted pause: "Just how long will this take?"
"Time? We work that afternoon, tomorrow: place the bricks here, go hire Venice barge to carry bricks to Venice—"
"Stay here overnight? I'm not going to stay here overnight, God damn it!"
"We bring sleeping bag for you—"
"No!" Carlo was furious. "I'm not staying, you miserable heathen hyenas—" He pulled off his scuba gear.
"I don't understand."
Carlo dried off, got dressed. "I'll let you keep your scuba tanks, and I'll be back for you tomorrow afternoon, late. Understand?"
"Yes," Hamada said, staring at him steadily, without expression. "Bring barge?"
"What?—yes, yes, I'll bring your barge, you miserable slime-eating catfish. Vultures…" He went on for a while, getting the boat out of the window.
"Storm coming!" Taku said brightly, pointing to the north.
"To hell with you!" Carlo said, pushing off and beginning to row. "Understand?"
He rowed out of Torcello and back into the Lagoon. Indeed, a storm was coming: he would have to hurry. He put up the sail and pulled the canvas decking back until it covered everything but the seat he was sitting on. The wind was from the north now, strong but fitful. It pulled the sail taut: the boat bucked over the choppy waves, leaving behind a wake that was bright white against the black of the sky. The clouds were drawing over the sky like a curtain, covering half of it: half black, half colorless blue, and the line of the edge was solid. It resembled that first great storm of 2040, Carlo guessed, that had pulled over Venice like a black wool blanket and dumped water for forty days. And it had never been the same again, not anywhere in the world.
Now he was beside the wreck of Burano. Against the black sky he could see only the drunken campanile, and suddenly he realized why he hated the sight of this abandoned town: it was a vision of the Venice to come, a cruel model of the future. If the water level rose even three meters, Venice would become nothing but a big Burano. Even if the water didn't rise, more people were leaving Venice every year. One day it would be empty. Once again the sadness he had felt looking at the Teotaca filled him, a sadness become a bottomless despair. "God damn it," he said, staring at the crippled campanile: but that wasn't enough. He didn't know words that were enough. "God damn it."
Just beyond Burano the squall hit. It almost blew the sail out of his hand; he had to hold on with a fierce clench, tie it to the stern, tie the tiller in place, and scramble over the pitching canvas deck to lower the sail, cursing all the while. He brought the sail down to its last reefing, which left a handkerchief-sized patch exposed to the wind. Even so, the boat yanked over the waves and the mast creaked as if it would tear loose…. The choppy waves had become whitecaps: in the screaming wind their tops were tearing loose and flying through the air, white foam in the blackness….
Best to head for Murano for refuge, Carlo thought. Then the rain started. It was colder than the Lagoon water and fell almost horizontally. The wind was still picking up: his handkerchief sail was going to pull the mast out…. "Jesus," he said. He got onto the decking again, slid up to the mast, took down the sail with cold and disobedient fingers. He crawled back to his hole in the deck, hanging on desperately as the boat yawed. It was almost broadside to the waves and hastily he grabbed the tiller and pulled it around, just in time to meet a large wave stern-on. He shuddered with relief. Each wave seemed bigger than the last: they picked up quickly on the Lagoon. Well, he thought, what now? Get out the oars? No, that wouldn't do; he had to keep stern-on to the waves, and besides, he couldn't row effectively in this chop. He had to go where the waves were going, he realized; and if they missed Murano and Venice, that meant the Adriatic.
As the waves lifted and dropped him, he grimly contemplated the thought. His mast alone acted like a sail in a wind of this force; and the wind seemed to be blowing from a bit to the west of north. The waves—the biggest he had ever seen on the Lagoon, perhaps the biggest ever on the Lagoon—pushed in about the same direction as the wind, naturally. Well, that meant he would miss Venice, which was directly south, maybe even a touch west of south. Damn, he thought. And all because he had been angered by those two Japanese and the Teotaca. What did he care what happened to a sunken mosaic from Torcello? He had helped foreigners find and cart off the one bronze horse of San Marco that had fallen… more than one of the stone lions of Venice, symbol of the city… the entire Bridge of Sighs, for Christ's sake! What had come over him? Why should he have cared about a forgotten mosaic?
Well, he had done it; and here he was. No altering it. Each wave lifted his boat stern first and slid under it until he could look down in the trough, if he cared to, and see his mast nearly horizontal, until he rose over the broken, foaming crest, each one of which seemed to want to break down his little hole in the decking and swamp him—for a second he was in midair, the tiller free and useless until he crashed into the next trough. Every time at the top he thought, this wave will catch us, and so even though he was wet and the wind and rain were cold, the repeated spurts of fear adrenaline and his thick wool coat kept him warm. A hundred waves or so served to convince him that the next one would probably slide under him as safely as the last, and he relaxed a bit. Nothing to do but wait it out, keep the boat exactly stern-on to the swell… and he would be all right. Sure, he thought, he would just ride these waves across the Adriatic to Trieste or Rijeka, one of those two tawdry towns that had replaced Venice as Queen of the Adriatic… the princesses of the Adriatic, so to speak, and two little sluts they were, too…. Or ride the storm out, turn around, and sail back in, better yet.
On the other hand the Lido had become a sort of reef in most places, and waves of this size would break over it, capsizing him for sure. And, to be realistic, the top of the Adriatic was wide; just one mistake on these waves (and he couldn't go on forever) and he would be broached, capsized, and rolled down to join all the other Venetians who had ended up on the bottom of the Adriatic. And all because of that damn Madonna. Carlo sat crouched in the stern, adjusting the tiller for the particulars of each wave, ignoring all else in the howling black chaos of water and air around him, pleased in a grim way that he was sailing to his death with such perfect seamanship. But he kept the Lido out of mind.
And so he sailed on, losing track of time as one does when there is no spatial referent. Wave after wave after wave. A little water collected at the bottom of his boat, and his spirits sank; that was no way to go, to have the boat sink by degrees under him.
Then the high-pitched, airy howl of the wind was j
oined by a low booming, a bass roar. He looked behind him in the direction he was being driven and saw a white line, stretching from left to right; his heart jumped, fear exploded through him. This was it. The Lido, now a barrier reef tripping the waves. They were smashing down on it; he could see white sheets bouncing skyward and blowing to nothing. He was terrifically frightened. It would have been so much easier to founder at sea.
But there—among the white breakers, off to the right—a gray finger pointing up at the black—
A campanile. Carlo was forced to look back at the wave he was under, to straighten the boat; but when he looked back it was still there. A campanile, standing there like a dead lighthouse. "Jesus," he said aloud. It looked as if the waves were pushing him a couple hundred meters to the east of it. As each wave lifted him he had a moment when the boat was sliding down the face of the wave as fast as it was moving under him; during these moments he shifted the tiller a bit and the boat turned and surfed across the face, to the west, until the wave rose up under him to the crest and he had to straighten it out. He repeated the delicate operation time after time, sometimes nearly broaching the boat in his impatience. But that wouldn't do—just take as much from each wave as it will give you, he thought. And pray it will add up to enough.
The Lido got closer, and it looked as if he was directly upwind of the campanile. It was the one at the Lido channel entrance or perhaps the one at Pellestrina, he had no way of knowing. He was just happy that his ancestors had seen fit to construct such solid bell towers. In between waves he reached under the decking and by touch found his boathook and the length of rope he carried. It was going to be a problem, actually, when he got to the campanile—it would not do to pass it helplessly by a few meters; on the other hand he couldn't smash into it and expect to survive either, not in these waves. In fact the more he considered it the more exact and difficult he realized the approach would have to be, and fearfully he stopped thinking about it and concentrated on the waves.
The last one was the biggest. As the boat slid down its face, the face got steeper, until it seemed they would be swept on by this wave forever. The campanile loomed ahead, big and black. Around it waves pitched over and broke with sharp, deadly booms; from behind Carlo could see the water sucked over the breaks, as if over short but infinitely broad waterfalls. The noise was tremendous. At the top of the wave it appeared he could jump in the campanile's top window—he got out the boathook, shifted the tiller a touch, took three deep breaths. Amid the roaring, the wave swept him just past the stone tower, smacking against it and splashing him; he pulled the tiller over hard, the boat shot into the wake of the campanile—he stood and swung the boathook over a window casement above him. It caught, and he held on hard.
He was in the lee of the tower. Broken water rose and dropped under the boat, hissing, but without violence, and he held. One-handed, he wrapped the end of his rope around the sail-cord bolt in the stern, tied the other end to the boathook. The hook held pretty well; he took a risk and reached down to tie the rope firmly to the bolt. Then another risk: when the boiling soupy water of another broken wave raised the boat, he leaped off his seat, grabbed the stone windowsill, which was too thick to get his fingers over—for a moment he hung by his fingertips. With desperate strength he pulled himself up, reached in with one hand and got a grasp on the inside of the sill, and pulled himself in and over. The stone floor was about four feet below the window. Quickly he pulled the boathook in and put it on the floor, and took up the slack in the rope.
He looked out the window. His boat rose and fell, rose and fell. Well, it would sink or it wouldn't. Meanwhile, he was safe. Realizing this, he breathed deeply, let out a shout. He remembered shooting past the side of the tower, face no more than two meters from it—getting drenched by the wave slapping the front of it—why, he had done it perfectly! He couldn't do it again like that in a million tries. Triumphant laughs burst out of him, short and sharp: "Ha! Ha! Ha! Jesus Christ! Wow!"
"Whoooo's theeeerre?" called a high scratchy voice, floating down the staircase from the floor above. "Whoooooo's there?…"
Carlo froze. He stepped lightly to the base of the stone staircase and peered up; through the hole to the next floor flickered a faint light. To put it better, it was less dark up there than anywhere else. More surprised than fearful (though he was afraid), Carlo opened his eyes as wide as he could—
"Whoooooo's theeeeeerrrrrrrre?…"
Quickly he went to the boathook, untied the rope, felt around on the wet floor until he found a block of stone that would serve as anchor for his boat. He looked out the window: boat still there; on both sides, white breakers crashed over the Lido. Taking up the boathook, Carlo stepped slowly up the stairs, feeling that after what he had been through he could slash any ghost in the ether to ribbons.
It was a candle lantern, flickering in the disturbed air—a room filled with junk—
"Eeek! Eeek!"
"Jesus!"
"Devil! Death, away!" A small black shape rushed at him, brandishing sharp metal points.
"Jesus!" Carlo repeated, holding the boathook out to defend himself. The figure stopped.
"Death comes for me at last," it said. It was an old woman, he saw, holding lace needles in each hand.
"Not at all," Carlo said, feeling his pulse slow back down. "Swear to God, Grandmother, I'm just a sailor, blown here by the storm."
The woman pulled back the hood of her black cape, revealing braided white hair, and squinted at him.
"You've got the scythe," she said suspiciously. A few wrinkles left her face as she unfocused her gaze.
"A boathook only," Carlo said, holding it out for her inspection. She stepped back and raised the lace needles threateningly. "Just a boathook, I swear to God. To God and Mary and Jesus and all the saints, Grandmother. I'm just a sailor, blown here by the storm from Venice." Part of him felt like laughing.
"Aye?" she said. "Aye, well then, you've found shelter. I don't see so well anymore, you know. Come in, then, sit down." She turned around and led him into the room. "I was just doing some lace for penance, you see… though there's scarcely enough light." She lifted a tombolo with the lace pinned to it; Carlo noticed big gaps in the pattern, as in the webs of an injured spider. "A little more light," she said and, picking up a candle, held it to the lit one. When it was fired, she carried it around the chamber and lit three more candles in lanterns that stood on tables, boxes, a wardrobe. She motioned for him to sit in a heavy chair by her table, and he did so.
As she sat down across from him, he looked around the chamber. A bed piled high with blankets, boxes and tables covered with objects… the stone walls around, and another staircase leading up to the next floor of the campanile. There was a draft. "Take off your coat," the woman said. She arranged the little pillow on the arm of her chair and began to poke a needle in and out of it, pulling the thread slowly.
Carlo sat back and watched her. "Do you live here alone?"
"Always alone," she replied. "I don't want it otherwise." With the candle before her face, she resembled Carlo's mother or someone else he knew. It seemed very peaceful in the room after the storm. The old woman bent in her chair until her face was just above her tombolo; still, Carlo couldn't help noticing that her needle hit far outside the apparent pattern of lace, striking here and there randomly. She might as well have been blind. At regular intervals Carlo shuddered with excitement and tension; it was hard to believe he was out of danger. More infrequently they broke the silence with a short burst of conversation, then sat in the candlelight absorbed in their own thoughts, as if they were old friends.
"How do you get food?" Carlo asked, after one of these silences had stretched out. "Or candles?"
"I trap lobsters down below. And fishermen come by and trade food for lace. They get a good bargain, never fear. I've never given less, despite what he said—" Anguish twisted her face as the squinting had, and she stopped. She needled furiously, and Carlo looked away. Despite the draft, he w
as warming up (he hadn't removed his coat, which was wool, after all), and he was beginning to feel drowsy….
"He was my spirit's mate, do you comprehend me?"
Carlo jerked upright. The old woman was still looking at her tombolo.
"And—and he left me here, here in this desolation when the floods began, with words that I'll remember forever and ever and ever. Until death comes…. I wish you had been death!" she cried. "I wish you had."
Carlo remembered her brandishing the needles. "What is this place?" he asked gently.
"What?"
"Is this Pellestrina? San Lazzaro?"
"This is Venice," she said.
Carlo shivered convulsively, stood up.
"I'm the last of them," the woman said. "The waters rise, the heavens howl, love's pledges crack and lead to misery. I—I live to show what a person can bear and not die. I'll live till the deluge drowns the world as Venice is drowned, I'll live till all else living is dead; I'll live…" Her voice trailed off; she looked up at Carlo curiously. "Who are you, really? Oh, I know. I know. A sailor."
"Are there floors above?" he asked, to change the subject.
She squinted at him. Finally she spoke. "Words are vain. I thought I'd never speak again, not even to my own heart, and here I am, doing it again. Yes, there's a floor above intact; but above that, ruins. Lightning blasted the bell chamber apart, while I lay in that very bed." She pointed at her bed, stood up. "Come on, I'll show you." Under her cape she was tiny.
The Best of Kim Stanley Robinson Page 2