The hunter gave a last pull and was free. The vision sped away. No, he murmured. No. He rubbed his wrist where her fingers had been and shook his head as if shaking off a blow. He ran.
Mary lay in the blood-smeared snow a long time, the warmth of the doe running up her arm until finally the woods had gone cold and she was alone. She dressed the doe with his knife and quartered the carcass and ferried it home over her shoulders. Her husband was in bed. The fireplace was cold. Don’t come near me, he said. Don’t touch me. She built the fire and fell asleep on the floor.
In the months that followed she left the cabin more frequently and for longer durations, visiting homes, accident sites and funeral parlors all over central Montana. Finally she pointed the truck south and didn’t turn back. They had been married five years.
Twenty years later, in the Bitterroot Diner, he looked up at the ceiling-mounted television and there she was, being interviewed. She lived in Manhattan, had traveled the world, written two books. She was in demand all over the country. Do you commune with the dead? the interviewer asked. No, she said, I help people. I commune with the living. I give people peace.
Well, the interviewer said, turning to speak into the camera, I believe it.
The hunter bought her books at the bookstore and read them in one night. She had written poems about the valley, written them to the animals: you rampant coyote, you glorious bull. She had traveled to Sudan to touch the backbone of a fossilized stegosaur, and wrote of her frustration when she divined nothing from it. A TV network flew her to Kamchatka to embrace the huge shaggy forefoot of a mammoth as it was airlifted from the permafrost—she had better luck with that one, describing an entire herd slogging big-footed through a slushy tide, tearing at sea grass and bringing it to their mouths with their trunks. In a handful of poems there were even vague allusions to him—a brooding, blood-soaked presence that hovered outside the margins, like storms on their way, like a killer hiding in the basement.
The hunter was fifty-eight years old. Twenty years was a long time. The valley had diminished slowly but perceptibly: roads came in, and the grizzlies left, seeking higher country. Loggers had thinned nearly every accessible stand of trees. Every spring runoff from logging roads turned the river chocolate-brown. He had given up on finding a wolf in that country although they still came to him in dreams and let him run with them, out over frozen flats under the moon. He had never been with another woman. In his cabin, bent over the table, he set aside her books, took a pencil, and wrote her a letter.
A week later a Federal Express truck drove all the way to the cabin. Inside the envelope was her response on embossed stationery. The handwriting was hurried and efficient. I will be in Chicago, it said, day after tomorrow. Enclosed is a plane ticket. Feel free to come. Thank you for writing.
After sherbet the chancellor rang his spoon against a glass and called his guests into the reception room. The bar had been dismantled; in its place three caskets had been set on the carpet. The caskets were mahogany, polished to a deep luster. The one in the center was larger than the two flanking it. A bit of snow that had fallen on the lids—they must have been kept outside—was melting, and drops ran onto the carpet where they left dark circles. Around the caskets cushions had been placed on the floor. A dozen candles burned on the mantel. There were the sounds of staff clearing the dining room. The hunter leaned against the entryway and watched guests drift uncomfortably into the room, some cradling coffee cups, others gulping at gin or vodka in deep tumblers. Eventually everyone settled onto the floor.
The hunter’s wife came in then, elegant in her dark suit. She knelt and motioned for O’Brien to sit beside her. His face was pinched and inscrutable. Again the hunter had the impression that he was not of this world but of a slightly leaner one.
President O’Brien, his wife said. I know this is difficult for you. Death can seem so final, like a blade dropped through your center. But the nature of death is not at all final; it is not some dark cliff off which we leap. I hope to show you it is merely a fog, something we can peer into and out of, something we can know and face and not necessarily fear. By each life taken from our collective lives we are diminished. But even in death there is much to celebrate. It is only a transition, like so many others.
She moved into the circle and unfastened the lids of the caskets. From where he sat the hunter could not see inside. His wife’s hands fluttered around her waist like birds. Think, she said. Think hard about something you would like resolved, some matter, gone now, which you wish you could take back—perhaps with your daughters, a moment, a lost feeling, a desperate wish.
The hunter lidded his eyes. He found himself thinking of his wife, of their long gulf, of dragging her and a bleeding doe through the snow. Think now, his wife was saying, of some wonderful moment, some fine and sunny minute you shared, your wife and daughters, all of you together. Her voice was lulling. Beneath his eyelids the glow of the candles made an even orange wash. He knew her hands were reaching for whatever—whoever—lay in those caskets. Somewhere inside him he felt her extend across the room.
His wife said more about beauty and loss being the same thing, about how they ordered the world, and he felt something happening—a strange warmth, a flitting presence, something dim and unsettling like a feather brushed across the back of his neck. Hands on both sides of him reached for his hands. Fingers locked around his fingers. He wondered if she was hypnotizing him, but it didn’t matter. He had nothing to fight off or snap out of. She was inside him now; she had reached across and was poking about.
Her voice faded, and he felt himself swept up as if rising toward the ceiling. Air washed lightly in and out of his lungs; warmth pulsed in the hands that held his own. In his mind he saw a sea emerging from fog. The water was broad and flat and glittered like polished metal. He could feel dune grass moving against his shins, and wind coming over his shoulders. The sea was very bright. All around him bees shuttled over the dunes. Far out a shorebird was diving for crabs. He knew that a few hundred yards away a pair of girls were building castles in the sand; he could hear their song, soft and lilting. Their mother was with them, reclined under an umbrella, one leg bent, the other straight. She was drinking iced tea and he could taste it in his mouth, sweet and bitter with a trace of mint. Each cell in his body seemed to breathe. He became the girls, the diving bird, the shuttling bees; he was the mother of the girls and the father; he could feel himself flowing outward, richly dissolving, paddling into the world like the very first cell into the great blue sea. . . .
When he opened his eyes he saw linen curtains, women in gowns kneeling. Tears were visible on many people’s cheeks— O’Brien’s and the chancellor’s and Bruce Maples’s. His wife’s head was bowed. The hunter gently released the hands that held his and walked out into kitchen, past the sudsy sinks, the stacks of dishes. He let himself out a side door and found himself on the long wooden deck that ran the length of the house, a couple inches of snow already settled on it.
He felt drawn toward the pond, the birdbath and the hedges. He walked to the pond and stood at its rim. The snow was falling easily and slowly and the undersides of the clouds glowed yellow with reflected light from the city. Inside the house the lights were all down and only the dozen candles on the mantel showed, trembling and winking through the windows, a tiny, trapped constellation.
Before long his wife came out onto the deck and walked through the snow and came down to the pond. There were things he had been preparing to say: something about a final belief, about his faithfulness to the idea of her, an expression of gratitude for providing a reason to leave the valley, if only for a night. He wanted to tell her that although the wolves were gone, may always have been gone, they still came to him in dreams. That they could run there, fierce and unfettered, was surely enough. She would understand. She had understood long before he did.
But he was afraid to speak. He could see that speaking would be like dashing some very fragile bond to pieces, like kicking
a dandelion gone to seed; the wispy, tenuous sphere of its body would scatter in the wind. So instead they stood together, the snow fluttering down from the clouds to melt into the water where their own reflected images trembled like two people trapped against the glass of a parallel world, and he reached, finally, to take her hand.
SO MANY CHANCES
Dorotea San Juan, a fourteen year old in a brown cardigan. The janitor’s daughter. Walks with her head down, wears cheap sneakers, never lipstick. Picks at salads during lunch. Tacks maps to her bedroom walls. Holds her breath when she gets nervous. Years of being the janitor’s daughter teach her to blend in, look down, be nobody. Who’s that? Nobody.
Dorotea’s dad is fond of saying this: A man only gets so many chances. He says it now, after dark, in Youngstown, Ohio, as he sits on Dorotea’s bed. And says this also: This is a real opportunity for us. His hands open and close. He grabs at air. Dorotea wonders about “us.”
Shipbuilding, he says. A man only gets so many chances, he says. We’re moving. To the sea. To Maine. Place called Harpswell. Soon as school’s out.
Shipbuilding? Dorotea asks.
Mama’s all for it, he says. Least I think she is. Who wouldn’t be all for it?
Dorotea watches the door shut behind him and thinks that her mother’s never been all for anything. That her father has never once owned, rented or mentioned any kind of boat.
She snatches up her world atlas. Studies the markless blue that means Atlantic Ocean. Her eye traces ragged coastlines. Harpswell: a tiny green finger pointing at blue. She tries to imagine ocean and conjures petal-blue water packed with fish gill-to-gill. Imagines herself transformed into Maine Dorotea, barefoot girl with a coconut necklace. New house, new town, new life. Nueva Dorotea. New Dorothy. She holds her breath, counts to twenty.
Dorotea tells nobody and nobody asks. They leave on the last day of school. That afternoon. Like sneaking out of town. The wood-paneled Wagoneer splashes across wet asphalt: Ohio, Pennsylvania, New York, Massachusetts, into New Hampshire. Her father drives empty-eyed, knuckles white on the wheel. Her mother sits stern and sleepless behind tracking wipers, lips curled above her chin like two rain-drowned earthworms, her small frame tensed as if bound in a hundred iron bands. As if crushing rocks in her bony fists. Slicing a pepper on her lap. Passing back dry tortillas painfully bound in plastic.
They see Portland at sunrise, after miles of pine bending over blacktop. The sun leers up behind slabs of cloud the color of salmon filets.
Dorotea trembles at the idea of ocean nearing. Fidgets in her seat. The energy of a caged fourteen-year-old piling up like marbles on a dinner plate. Finally the highway bends and Casco Bay shines before them. From across the bay the sun flings a trail of spangles to her. She lowers her nose to the window frame, feels certain there will be porpoises. Watches the glitter carefully for fins, flukes.
She glances at the back of her mother’s neck to see if she notices, if she feels it too, to see if her mother can be touched by a shimmering expanse of sea. Her mother who hid under onions for four days in a train car to Ohio. Who met her husband in a city built over a swamp, cracked sidewalks, train whistles, slushy winter. Her mother who made a home, who never left it. Who must be boiling at the sight of unbounded water. Dorotea sees no sign that it is so.
Harpswell. Dorotea stands in the doorway of the rented house. This threshold of paradise. The sea a misty backdrop behind soft-rustling pines and coils of blackberry bush.
Her father stands in the tiny kitchen among shell ornaments hanging by strings from cabinet knobs, faded bottles on the windowsill, pushes up his glasses, opens and closes his fists. As if he expected to find shipbuilding manuals, polished brass, portholes. As if he hadn’t figured on this part of it: this kitchen with clamshells on the cabinets. Her mother stands in the living room like a bolt balanced on end. Stares down at boxes, bags and suitcases unloaded from the truck. Hair yarded into a big knot.
Dorotea stretches her arms, stands on her toes. She takes off her brown cardigan. Gulls screech in a wheel just past the pines, an osprey-shadow glides.
Her mother says, Ponte el sueter, Dorotea. No estás en puesta al sol.
As if the sun here was a different sun altogether. Dorotea walks a sandy path through brown grass to the sea. The path ends at rock, rust-colored, crenellated, heaved up from the earth long ago. The rock stretches into a haze at both ends. Nothing else but ocean and wind-bent pines and morning fog. At the sea’s lip she watches tiny green waves flop onto a slick slope of rock, nudge forward a receding ribbon of foam. Come, retreat. Come, retreat.
She turns and glimpses the small white house through the pine trunks. Heavy-headed dandelions, sandy yard, paint flaking. The house slumped and wet on its foundation. Her father talking in the doorway, pointing at her mother, at the truck, at the rented house. Arguing. Sees her father’s hands open, close. Sees her mother climb into the truck, slam the door, sit in the passenger’s seat and stare straight ahead. Her father retreats into the house.
Dorotea turns back, shades her eyes, sees the mist breaking. To her left, a gliding green current, a river mouth. To the right, trees lining the sea edge. Five hundred yards or so down the coast she sees a rocky point.
She walks to it; her sneakers bend to steep rock. Occasionally she has to step into the sea, water eddying around her knees, cold salt stinging thighs. Sea mud sliding underfoot. A rag of mist descends and she loses sight of the point. In a place the rock is steep and she wades to get around it. The water rises above her waist, shocks her belly. Finally the rock climbs back on an upslope, her feet dig in, and she climbs up, mud in her fingers and salt drying already on her skin, legs lifting her dripping out onto the shelf of rock. The point still half-obscured in mist.
She shades her eyes, again takes in the ocean. Are there dolphins out there? Sharks? Sailboats? She sees no sign of them. Of anything. Is ocean merely rock and weed and water? Mud? She had not expected emptiness, flittery light, a blotted horizon. Waves march in from some obscure haze. For a terrifying moment she can imagine herself the only organism on the planet. And she is about to go back.
Then she sees the fisherman. Just to her left. Wading. As if he came from nowhere. From nothing. From the sea itself.
She watches him. Feels lucky to watch. The world peeled back and left with only this vision. This silent flying wizardry. The rod seems an extension of his arm, an extra and perfect appendage, his shoulder pivoting, his bare brown chest, his legs tapering to calves buried in the sea. So this is Maine, this is how it can be, she thinks. This fisherman. This grace.
He rears back with his fishing rod and swings his line in great unrolling loops, far behind, then far in front. When the line unfurls so it is horizontal with the sea, he brings his rod tip back, and the line shoots in the opposite direction, over the rocks, almost to the trees, as if it surely must wrap around some low branch, but before it can the fisherman flings it forward again, out over the sea. Then slings it back. Each subsequent cast longer, more desperately close to the trees. Finally, when it seems his back cast is yards into the scrub, he shoots the line straight out, over the wave tops, into the sea. Then he wedges the butt end of his pole in his armpit and strips in the line with both hands. Then casts again, those hypnotic loops of line swinging back and forth like the wave-break itself and finally shooting out over the sea where it settles across the tiny swell. And strips it in again.
She stands on the rock, feels the packed rows of fossil beneath her feet. Holds her breath. Counts to twenty. And then splashes from her shelf of rock into the sea, her sneakers again on barnacle and slippery weed. She walks a hundred yards, head up. Toward the fisherman.
Turns out he’s a boy, sixteen maybe. Skin like calf leather. A string of small white shells on his throat. Looks at her through brick-colored hair. Eyes like green medicine.
He says, Funny to be wearing a sweater on a morning like this.
What?
Warm for a sweater.
He
casts again. She watches the line, watches him feed it into the cast from the neat coils floating around his ankles. Watches the line swing back and forth and back and forth and finally shoot into the sea. He strips it in, says, Tide’s turned. Be coming in soon.
Dorotea nods, not sure what this information means.
She asks, What kind of fishing pole is that? I’ve never seen a pole like that.
Pole? Poles are for bait fishermen. This is a rod. A fly rod.
You don’t fish with bait?
Bait, he says. No . . . Never bait. Bait makes it easy.
Makes what easy?
The fisherboy hauls in his line, casts again. This. Casting to fish. A’course a striper or a blue will bite on a hunk of squid. A’course a mackerel will take a bloodworm. What’s that? It’s a game with the rules removed. No elegance.
Elegance. Dorotea considers this. Had no idea that elegance had something to do with fishing. But watch him cast! See the mist tear away from the pines.
The boy continues, Bait fishermen toss a herring out there, move it around a bit. Drag in a striper. That’s not fishing. That’s criminal.
Oh. Dorotea struggles to understand the coarseness of bait-fishing.
He hauls in his line, pinches the leader. Holds the fly in front of Dorotea. White hair tied with neat wraps of thread to a steel hook. A tiny painted wooden head. Two round eyes.
Is that a lure?
A streamer. Bucktail streamer. That white hair there’s dyed buck’s tail.
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