by Jones, Nath
But. Who is she to care? So she leans over and picks up the lone tortilla chip he dropped from his refilled bowl lest it get crushed and require whatever reprimand might come out with the vacuum.
Mrs. Hamel from church is carrying serving dishes out to the screened-in porch. She seems never quite pleased with the platters’ spacial relations. The buffet under the kitchen window goes through different permutations. Deviled eggs, potato salad, coleslaw, orange Jell-O and carrot salad, teriyaki chicken wings, and mint-frosted chocolate chip brownies dance, leapfrog, slide around, and push back in her old, gnarled, manicured hands until she’s satisfied.
No one is listening. But Mrs. Swindan answers what must have been a question posed by that new wife of one of the older grandchildren, “Angels on horseback are just baked oysters wrapped in bacon,” then raises her voice to shout toward the porch, “Mrs. Hamel. How do you make your Christmas fruit salad?”
Mrs. Hamel hears the question but doesn’t bother raising her voice much. She’s folding napkins corner-to-corner and making a pinwheel pile. “The oranges are from Central America. None of this grocery store nonsense. Mine come directly from the grove to my back door. Lord knows what infestations I’m ushering in on the fruit, but I don’t care. I’m an old lady, I like good oranges, and I hate pesticides.”
When the twenty-six-year-old comes through the doorway carrying the fruit salad, Mrs. Hamel points to one of two empty places of honor, and the prized dish gets turned ninety degrees counterclockwise.
“So you cut the oranges. Lots of them. Let the juice run in too. Then the apples. I like the Gala from Washington State, but you can be more flexible with the apples. Just don’t use those big red ones covered in soapy wax from the store. They’re mealy and awful. Use a good baking apple over a good lunchbox apple. They won’t take on as much fluid and mush down on you. I’ve even used the Granny Smith. They are tart but firm and get balanced by so much soft sweetness in the salad. The Golden Delicious is fine if you can’t find the Gala and don’t want the tart zing of the Granny Smith. But the Golden will get soft after a while.”
Mrs. Swindan only asked to be polite. She drifts off from the kitchen to get the three-tiered cake plate from upstairs. But. The young woman keeps listening.
Mrs. Hamel folds more napkins. “After the apples go in, squirt it with some lemon juice to prevent all those apples from browning. The orange juice just isn’t acidic enough. Then the maraschinos. Halves or quarters, whichever you have time for. Lastly, the coconut. Best to grate it fresh yourself from the meat of a coconut. But I’ll admit I’ve only done that once. It was such a mess getting into that thing! It took a screwdriver and a hammer and a lot of words that I’d rather not employ to get that sucker open. The blessed thing rolled off my counter so many times that I ended up on the floor with it. My legs holding it steady then hacking at it with that screwdriver and hammer. Awful. And the milk got all over my shoes and dress when I finally did get it open.
“So I do recommend the store-bought, fully-processed, shredded coconut. A quarter to half a bag. A good fistful is about right. And really it works out better than the fresh coconut because the dry coconut takes up the maraschino juice and the orange juice for blended flavor. But that coconut is mainly for texture and looks. You can leave it out if you must. It’s a great salad Christmas morning with breads and spreads. Stollen and cream cheese every year at our house.” She smiles. “The key is high quality oranges. A definite must. Not worth making with crap oranges.”
“Thank you, Mrs. Hamel. Someday I’ll try it out.”
“Well, not until you tell me how you come up with these beauties year after year.” Mrs. Hamel gestures toward the deviled eggs. It’s clear enough that Mrs. Hamel hates deviled eggs. But one’s recipe is never just given away. It must be exchanged for another equally as good. And everyone says that these particular deviled eggs are as near to perfection as Icarus ever was to the sun, which is much too close for Mrs. Hamel’s comfort. She slams the salt and pepper shakers down against the table in three different places. Nowhere seems right.
But. The young wife didn’t make the deviled eggs. So she shakes her head and points to a tray of cookies that she only had to bake in ready-made batches for eight to ten minutes. She says she thinks one of the neighbors made the deviled eggs and cranes her neck inside to ask. But the neighbors have their backs turned, still throwing the doll’s head, and are also distracted from her uninvolved incursion by watching the middle school boys’ well-matched race in a video game. So the story of the deviled eggs is never told.
Mrs. Hamel is glad not to have to listen to such rot about whoever thinks she can make the best plate of deviled eggs but also demonstrates a sort of disappointed disgust in the girl’s inability to assert herself.
The young new wife of one of the older grandchildren is not just a girl and doesn’t think it is her fault that the row of neighbors can’t hear her asking for the deviled egg recipe. And why should she interrupt them when Mrs. Hamel doesn’t even want to listen? Still, it’s true enough that she isn’t quite sure which one of the neighbors made them. So there is no one in particular to ask. She wanders away from Mrs. Hamel, opens the door to the basement stairs, and disappears.
Back in the kitchen Mrs. Swindan has come downstairs. She and Mrs. Roth are working away. “Doesn’t it seem unlikely?” Mrs. Swindan says it as if caught—an eagle in a tall chicken wire fence. A fight is useless. They are sisters. And so the reply from Mrs. Roth, “Mmm.” She preheats the oven and begins to pour a layer of rock salt into a jelly roll pan. The sound of the salt against the metal is muffled by jazz.
The sink is full of ice. The kitchen walls bask in the last of the afternoon sun. The white wine, in glasses lined up in the window, holds glimpses of the light. Leaning on the stove, hands on the aprons, sipping periodically, the sisters clean and straighten up nothing that needs to be done. They are waiting for the oysters.
The conversation dies easily. A pattern made by a thousand arguments not bothered with in the presence of guests, like this nosy young wife of one of the older grandchildren. The matronly sisters pretend not to notice that she keeps popping up every time they both turn around. Mrs. Roth might involve her but cannot remember her name. So instead she watches a group of children trample her sugar snap peas in the garden as they squabble about who should retrieve the soccer ball. Her children and her sister’s children and some children of friends are trying to be careful, but the soccer ball has wreaked havoc enough.
The peas can handle it. She turns away from the window and tries to remember the name of the young woman Mrs. Hamel must have rebuffed, picks up her glass, and puts the back of her hand against the oven door, testing the heat.
“What’s Owen’s new wife’s name?”
“I thought you knew. She stood there hovering and I had absolutely no idea. I was about to ask.”
“Mrs. Hamel must have said something to her. She slithered down the stairs two minutes ago.”
“I didn’t see that. Are you sure?”
“Yes. You know how she can be.”
“Who?”
Mrs. Hamel overhears Mrs. Swindan and Mrs. Roth. She said, “Her name is Christa. And I didn’t say a word. The girl’s got no—”
But Mrs. Swindan doesn’t wait for her comment. She yanks the basement door open. “Christa!”
Christa hurries up the stairs. She stands close to Mrs. Roth who quickly hands her the salad tongs. “Just toss everything together. Be sure to get the tomatoes and olives off the bottom.” Mrs. Swindan doesn’t bother to remind her sister that three people asked for salad without dressing and that two others hate olives, which is why things were as they were with the dressing on the bottom.
But. Mrs. Hamel forgets nothing. “What do you expect Andre to do?” Christa looks first to Mrs. Roth, who has obviously forgotten, then to Mrs. Swindan, who shakes her head, and lastly to Mrs. Hamel who throws her hands up proving herself beyond all culpability. Christa says, “I’
m sorry. I didn’t know.”
Everyone is relieved by the sound of the garage door rising. Two men laugh heartily. One opens the door. The other backs his way up the stairs, slowly. They each hold one handle of an old metal tub. They carry it awkwardly through the door and steady it with slow steps, outstretched arms, and dictatorial statements. The women disperse like a flock of starlings that rises just a few feet and settles again on a different part of the lawn. Because they’ve arrived. Not the men but what they carry.
No one says a word. Everyone watches while the two men lift the tub, tilt it, slowly, slowly. One says, “Steady.” And the other wraps his lips around his teeth in a grimace. “Pull it back. Yeah. Okay. Now go.” They let the ocean water splash down into the sink. The oysters rattle, clatter, tumble, and fall, piling onto each other in a haze of the sea on ice.
The men tip the tub a few inches further, to be sure, to be absolutely sure. One of them grabs both handles, tips it all the way upside-down to be a hundred percent certain. Mainly for show, the other pounds the bottom of the tub.
But. Though no one expects it, one more oyster, one lodged in the crimp somehow, comes free and drops straight down onto the others.
One of the men says, “That’s about twice what we had last year.” Satisfied, the men retreat. The tub disappears, gets rinsed, gets forgotten again on the rafters in the garage.
The women do not hesitate to return. They talk and laugh. Their hands are deft as they wield flexible knives.
Mrs. Swindan’s nine-year-old son announces, “I want to do one.” The young man marries once. And his bride is Impossibility. He conquers her in time. “Let me. Let me try.”
His mother hands over her knife. “Find a good one.”
The boy takes the biggest oyster he sees.
His mother hands over the glove.
“I don’t want to wear that.”
“You have to protect your hands. It won’t let you cut your fingers off.”
The boy reluctantly puts on the wire mesh glove. He holds the oyster level to the ground knowing that the juice will run out if he does not. “Now what?”
“See how it’s thicker down here? That’s the cup. Across from that there is a sort of hinge. You want to stick the knife right into the hinge. A twist should pop it open and then you cut the bottle muscle.”
“I thought it was really hard.”
She smiles, knowing. “It is.”
The boy, concentrating, holds the oyster with the awkward glove. He finds the hinge and struggles to get the knife tip in. The knife slips and rams into his palm but is stopped by the steel mesh of the glove. His eyes are wide.
“See; we could be on our way to the emergency room right now.”
Understanding more, he tries again. He can feel it now. That place where the tip of the knife must penetrate. “I get it.” He doesn’t falter. The flat tip goes in. He holds the cup firmly but level in the glove and twists his knife hand enough to pop the shell open.
“Now get it loose underneath.”
He cuts hesitantly. He doesn’t want to lose the juice. He quits, offers up both the knife and the oyster. “I can’t. You do it.”
“Just keep going slowly. You’ll get it.”
He does not want to try. He does not want to be told to keep going. He does not want to do it wrong. He does not want to not know how. He keeps looking around, at his mother, at his father, at his aunts, at his dog, at the new wife of one of his older cousins, at his brother, who nods. The pressure of the knife is a little much and the oyster pops back, juice splashing down his wrist, lost. But the muscle was cut and he holds the oyster up so his mother will give it a squirt of lemon juice and a little Tabasco. He knows this part and sucks it down, relishing his work.
She is satisfied and grants permission for him to be dismissed. He hands back the glove and watches his mother and aunt wield their knives, their experience. They shuck ten to his one oyster and he wonders how it’s possible. They shuck them and lay them out on the rock salt without losing a drop of the juice. Even with three-year-olds running past them and tugging at them and screaming at the top of their lungs and crying and fighting over slobbery dog toys. His mother and his aunt don’t lose a drop of juice. He is amazed by his mother, but doesn’t say so, never will again. And he will forget this moment the instant he leaves the room. Only somewhere—at a funeral, in a boardroom, on a mountaintop—sometime later will the image come back to him and he will be watching again, seeing his mother at the sink shucking oysters.
The oysters marinate for twenty minutes.
But no one waits.
Mrs. Roth goes out to the yard, kicks the soccer ball one time, runs after it, hard, fast, then says nothing but picks up the black-and-white ball and turns back. The children follow her across the lawn, leaping, jumping, trying to grab the ball back before she gets into the house, into the bathroom, where they swarm around her holding their cupped hands up, waiting their individual turns for two squirts of the fun foam soap.
They know the rules. So Mrs. Roth makes no announcement about how the soccer ball will wait in a newspaper basket on top of the TV until everyone’s eaten.
Mrs. Swindan can’t be bothered right now. She is swirling her hands in the jelly roll pan, smoothing out an inch-deep layer of coarse sea salt. “Just get another bottle from the garage,” she says as she scours half the oyster shells and nests them in the salt. Mrs. Roth wraps each fresh oyster in a streaky rasher from the deli downtown and lays it out in a shell. Mrs. Hamel drizzles a mixture of white wine, hot sauce, garlic, and parsley over the shells. Half go out onto Mr. Roth’s grill. Half go under the broiler in the kitchen.
The neighbors, talking loudly after all the mai tais, white wine, and sangria, line up, each with a heavy paper plate.
Summer sets in. Mrs. Swindan calls Christa over to the oven. There is no ceremony, no kneeling knightship, no rite of passage for a warrior in the woods, no moment of hesitation at all. Just, “Here. Take this out.” So as instructed, the young new wife of one of the older grandchildren carries the most important platter to the table, elbows her way through the line of neighbors, and there are the angels on horseback, between the deviled eggs and Mrs. Hamel’s Christmas fruit salad.
DECUSSATION
The river moves midsummer slow. Two poles are forgotten on the weathered wood and three bodies roll naked on a raft, moving over each other but trying not to shift so much they’ll all sink. There is no crime where there is an agreement. She moves away from their embrace; lets the men have it for a while. None of them speaks.
Canyon walls rise around the three lovers and their raft floats on the surface of a deep down waterway. She picks up one of the poles, stands, and pushes them further downstream. Granite surrounds whatever questions there are and makes the river seem defined, known, trustworthy in its place. Trees grow on shelves up high and vines hang down from slippery cracks so full of life the rock itself seems to chase hanging algae down its face.
The woman, she’s twenty-six, poles over close to one of the river walls, reaches out her hand, and cannot quite touch the rock without affecting their raft’s balance. The thick vines droop along the granite, around the saplings on ledges, and she gives up reaching, choosing instead to pull clay from the river’s edge onto the raft.
She sits again, lays the pole down, starts rubbing wet clay on one man’s legs while he kisses the other.
Warm skin surrounds three minds that are always left untouched like piles of sun-warmed clothes on the bank: a pair of faded, acid-washed jeans; a paper-thin St. Patrick’s Day t-shirt; a yellow skirt; two halves of an eight-year-old bikini; a pair of flip-flops; some red shorts; and four forgotten running shoes. All that stuff’s left piled together in the woods at the landing by a too-bright yellow Corvette.
They have choices. They aren’t children. They each, as consciously as possible, have two more lives taken, and no more longing, no more wanting, no more reasons to wait, to beg, to ask for mercy, to respond,
to curl long strands of hair around once-broken fingers and also move whisker-rubbed lips; no, nothing but skin (under a most private sun) rolled respectful of their shared precarious balance, each taken, with rising up, with release, with shifting weight leaning on elbows, on hips, on shoulder blades with arched breast kinds of calling.
The river moves them beyond the canyon into a quiet stand of trees where the waters widen to a knee-deep, nearly-stopped, unhurried serenity. Why talk? There is nothing to say. They forget about conversational formalities, about bellies of laughter, about tsking over amnesty for smokestacks, and about who should shamefully have to drag the potted spider plant from room to room.
Someone must.
The one man, the one with clay on his legs, the one who reaches out to the second man with something just beyond brotherhood when he knows that other’s gentle heart so desperately, deeply loves him. Neither can do much about his feelings. So one with clay on his legs pulls away from the two strong hands that hold him close. His leaving the caress is something they all notice. With a kind willingness if not with plunging joy he’s off the raft and ridding himself of that clay in the water for a minute.
Even with all the maturity of their agreement, the man left with his feelings is not so relaxed. He wants both lovers for himself, now if not forever, and having to share he is angry from the neck up.
She is numb from the waist down. She doesn’t love either of them. Not like she should. She lets her legs drag in the cold river water. And she wants to rid herself of knowing either of them. She stands again and pushes the raft downriver. The man left with his feelings stands, too, and picks up the second pole. They move downstream more quickly, more effortlessly, and without the rise and fall that happened when only she was pushing.
But. The man lets go of what’s real and picks up what’s nonexistent to help propel them all. It’s hard for the woman to understand why he keeps making such an effort. But he does. He’s working diligently at something she doesn’t understand. He kneads what’s in front of them with yearning, longing, love, and his twin pangs of hope and despair, sweetness and embittered grace.