For Harris the night allowed scope. Night removed the limitations of detail and concentrated on form. Harris would bring Pomphrey with him, past the barrier, onto the first stage of the bridge that ended sixty yards out in the air. The wind moved like something ancient against them. All men on the bridge had to buckle on halter ropes. Harris spoke of his plans to this five-foot-tall Englishman, struggling his way into Pomphrey’s brain. Before the real city could be seen it had to be imagined, the way rumours and tall tales were a kind of charting.
One night they had driven there at eleven o’clock, crossed the barrier, and attached themselves once again to the rope harnesses. This allowed them to stand near the edge to study the progress of the piers and the steel arches. There was a fire on the bridge where the night workers congregated, flinging logs and other remnants onto it every so often, warming themselves before they walked back and climbed over the edge of the bridge into the night.
They were working on a wood-facing for the next pier so that concrete could be poured in. As they sawed and hammered, wind shook the light from the flares attached to the side of the abutment. Above them, on the deck of the bridge, builders were carrying huge Ingersoll-Rand air compressors and cables.
An April night in 1917. Harris and Pomphrey were on the bridge, in the dark wind. Pomphrey had turned west and was suddenly stilled. His hand reached out to touch Harris on the shoulder, a gesture he had never made before.
– Look!
Walking on the bridge were five nuns.
Past the Dominion Steel castings wind attacked the body directly. The nuns were walking past the first group of workers at the fire. The bus, Harris thought, must have dropped them off near Castle Frank and the nuns had, with some confusion at that hour, walked the wrong way in the darkness.
They had passed the black car under the trees and talking cheerfully stepped past the barrier into a landscape they did not know existed – onto a tentative carpet over the piers, among the night labourers. They saw the fire and the men. A few tried to wave them back. There was a mule attached to a wagon. The hiss and jump of machines made the ground under them lurch. A smell of creosote. One man was washing his face in a barrel of water.
The nuns were moving towards a thirty-yard point on the bridge when the wind began to scatter them. They were thrown against the cement mixers and steam shovels, careering from side to side, in danger of going over the edge.
Some of the men grabbed and enclosed them, pulling leather straps over their shoulders, but two were still loose. Harris and Pomphrey at the far end looked on helplessly as one nun was lifted up and flung against the compressors. She stood up shakily and then the wind jerked her sideways, scraping her along the concrete and right off the edge of the bridge. She disappeared into the night by the third abutment, into the long depth of air which held nothing, only sometimes a rivet or a dropped hammer during the day.
Then there was no longer any fear on the bridge. The worst, the incredible had happened. A nun had fallen off the Prince Edward Viaduct before it was even finished. The men covered in wood shavings or granite dust held the women against them. And Commissioner Harris at the far end stared along the mad pathway. This was his first child and it had already become a murderer.
The man in mid-air under the central arch saw the shape fall towards him, in that second knowing his rope would not hold them both. He reached to catch the figure while his other hand grabbed the metal pipe edge above him to lessen the sudden jerk on the rope. The new weight ripped the arm that held the pipe out of its socket and he screamed, so whoever might have heard him up there would have thought the scream was from the falling figure. The halter thulked, jerking his chest up to his throat. The right arm was all agony now – but his hand’s timing had been immaculate, the grace of the habit, and he found himself a moment later holding the figure against him dearly.
He saw it was a black-garbed bird, a girl’s white face. He saw this in the light that sprayed down inconstantly from a flare fifteen yards above them. They hung in the halter, pivoting over the valley, his broken arm loose on one side of him, holding the woman with the other. Her body was in shock, her huge eyes staring into the face of Nicholas Temelcoff.
Scream, please, Lady, he whispered, the pain terrible. He asked her to hold him by the shoulders, to take the weight off his one good arm. A sway in the wind. She could not speak though her eyes glared at him bright, just staring at him. Scream, please. But she could not.
During the night, the long chutes through which wet concrete slid were unused and hung loose so the open spouts wavered a few feet from the valley floor. The tops of these were about ten feet from him now. He knew this without seeing them, even though they fell outside the scope of light. If they attempted to slide the chute their weight would make it vertical and dangerous. They would have to go further – to reach the lower-deck level of the bridge where there were structures built for possible water mains.
We have to swing. She had her hands around his shoulders now, the wind assaulting them. The two strangers were in each other’s arms, beginning to swing wilder, once more, past the lip of the chute which had tempted them, till they were almost at the lower level of the rafters. He had his one good arm free. Saving her now would be her responsibility.
She was in shock, her face bright when they reached the lower level, like a woman with a fever. She was in no shape to be witnessed, her veil loose, her cropped hair open to the long wind down the valley. Once they reached the catwalk she saved him from falling back into space. He was exhausted. She held him and walked with him like a lover along the unlit lower parapet towards the west end of the bridge.
Above them the others stood around the one fire, talking agitatedly. The women were still tethered to the men and not looking towards the stone edge where she had gone over, falling in darkness. The one with that small scar against her nose … she was always falling into windows, against chairs. She was always unlucky.
The Commissioner’s chauffeur slept in his car as Temelcoff and the nun walked past, back on real earth away from the bridge. Before they reached Parliament Street they cut south through the cemetery. He seemed about to faint and she held him against a gravestone. She forced him to hold his arm rigid, his fist clenched. She put her hands underneath it like a stirrup and jerked upwards so he screamed out again, her whole body pushing up with all of her strength, groaning as if about to lift him and then holding him, clutching him tight. She had seen the sweat jump out of his face. Get me a shot. Get me.… She removed her veil and wrapped the arm tight against his side. Parliament and Dundas … few more blocks. So she went down Parliament Street with him. Where she was going she didn’t know. On Eastern Avenue she knocked at the door he pointed to. All these abrupt requests – scream, swing, knock, get me. Then a man opened the door and let them into the Ohrida Lake Restaurant. Thank you, Kosta. Go back to bed, I’ll lock it. And the man, the friend, walked back upstairs.
She stood in the middle of the restaurant in darkness. The chairs and tables were pushed back to the edge of the room. Temelcoff brought out a bottle of brandy from under the counter and picked up two small glasses in the fingers of the same hand. He guided her to a small table, then walked back and, with a switch behind the zinc counter, turned on a light near her table. There were crests on the wall.
She still hadn’t said a word. He remembered she had not even screamed when she fell. That had been him.
Nicholas Temelcoff is famous on the bridge, a daredevil. He is given all the difficult jobs and he takes them. He descends into the air with no fear. He is a solitary. He assembles ropes, brushes the tackle and pulley at his waist, and falls off the bridge like a diver over the edge of a boat. The rope roars alongside him, slowing with the pressure of his half-gloved hands. He is burly on the ground and then falls with terrific speed, grace, using the wind to push himself into corners of abutments so he can check driven rivets, sheering valves, the drying of the concrete under bearing plates and padstones. He st
ands in the air banging the crown pin into the upper cord and then shepherds the lower cord’s slip-joint into position. Even in archive photographs it is difficult to find him. Again and again you see vista before you and the eye must search along the wall of sky to the speck of burned paper across the valley that is him, an exclamation mark, somewhere in the distance between bridge and river. He floats at the three hinges of the crescent-shaped steel arches. These knit the bridge together. The moment of cubism.
He is happiest at daily chores – ferrying tools from pier down to trestle, or lumber that he pushes in the air before him as if swimming in a river. He is a spinner. He links everyone. He meets them as they cling – braced by wind against the metal they are rivetting or the wood sheeting they hammer into – but he has none of their fear. Always he carries his own tackle, hunched under his ropes and dragging the shining pitons behind him. He sits on a coiled seat of rope while he eats his lunch on the bridge. If he finishes early he cycles down Parliament Street to the Ohrida Lake Restaurant and sits in the darkness of the room as if he has had enough of light. Enough of space.
His work is so exceptional and time-saving he earns one dollar an hour while the other bridge workers receive forty cents. There is no jealousy towards him. No one dreams of doing half the things he does. For night work he is paid $1.25, swinging up into the rafters of a trestle holding a flare, free-falling like a dead star. He does not really need to see things, he has charted all that space, knows the pier footings, the width of the crosswalks in terms of seconds of movement – 281 feet and 6 inches make up the central span of the bridge. Two flanking spans of 240 feet, two end spans of 158 feet. He slips into openings on the lower deck, tackles himself up to bridge level. He knows the precise height he is over the river, how long his ropes are, how many seconds he can free-fall to the pulley. It does not matter if it is day or night, he could be blindfolded. Black space is time. After swinging for three seconds he puts his feet up to link with the concrete edge of the next pier. He knows his position in the air as if he is mercury slipping across a map.
A South River parrot hung in its cage by the doorway of the Ohrida Lake Restaurant, too curious and interested in the events of the night to allow itself to be blanketed. It watched the woman who stood dead centre in the room in darkness. The man turned on one light behind the counter. Nicholas Temelcoff came over to the bird for a moment’s visit after getting the drinks. “Well, Alicia, my heart, how are you?” And walked away not waiting for the bird’s reply, the fingers of his left hand delicately holding the glasses, his arm cradling the bottle.
He muttered as if continuing his conversation with the bird, in the large empty room. From noon till two it was full of men, eating and drinking. Kosta the owner and his waiter performing raucous shows for the crowd – the boss yelling insults at the waiter, chasing him past customers. Nicholas remembered the first time he had come there. The dark coats of men, the arguments of Europe.
He poured a brandy and pushed it over to her. “You don’t have to drink this but you can if you wish. Or see it as a courtesy.” He drank quickly and poured himself another. “Thank you,” he said, touching his arm curiously as if it were the arm of a stranger.
She shook her head to communicate it was not all right, that it needed attention.
“Yes, but not now. Now I want to sit here.” There was a silence between them. “Just to drink and talk quietly.… It is always night here. People step in out of sunlight and must move slow in the darkness.”
He drank again. “Just for the pain.” She smiled. “Now music.” He stood up free of the table as he spoke and went behind the counter and turned the wireless on low. He spun the dial till there was bandstand. He sat down again opposite her. “Lot of pain. But I feel good.” He leaned back in his chair, holding up his glass. “Alive.” She picked up her glass and drank.
“Where did you get that scar?” He pointed his thumb to the side of her nose. She pulled back.
“Don’t be shy … talk. You must talk.” He wanted her to come out to him, even in anger, though he didn’t want anger. Feeling such ease in the Ohrida Lake Restaurant, feeling the struts of the chair along his back, her veil tight on his arm. He just wanted her there near him, night all around them, where he could look after her, bring her out of the shock with some grace.
“I got about twenty scars,” he said, “all over me. One on my ear here.” He turned and leaned forward so the wall-light fell onto the side of his head. “See? Also this under my chin, that also broke my jaw. A coiling wire did that. Nearly kill me, broke my jaw. Lots more. My knees.…” He talked on. Hot tar burns on his arm. Nails in his calves. Drinking up, pouring her another shot, the woman’s song on the radio. She heard the lyrics underneath Temelcoff’s monologue as he talked and half mouthed the song and searched into her bright face. Like a woman with a fever.
This is the first time she has sat in a Macedonian bar, in any bar, with a drinking man. There is a faint glow from the varnished tables, the red checkered tablecloths of the day are folded and stacked. The alcove with its serving counter has an awning hanging over it. She realizes the darkness represents a Macedonian night where customers sit outside at their tables. Light can come only from the bar, the stars, the clock dressed in its orange and red electricity. So when customers step in at any time, what they are entering is an old courtyard of the Balkans. A violin. Olive trees. Permanent evening. Now the arbour-like wallpaper makes sense to her. Now the parrot has a language.
He talked on, slipping into phrases from the radio songs which is how he learned his words and pronunciations. He talked about himself, tired, unaware his voice split now into two languages, the woman hearing everything he said and trying to remember it all. He could see her eyes were alive, interpreting the room. He noticed the almost-tap of her finger to the radio music.
The blue eyes stayed on him as he moved, leaning his head against the wall. He drank, his breath deep into the glass so the fumes would hit his eyes and the sting of it keep him awake. Then he looked back at her. How old was she? Her brown hair so short, so new to the air. He wanted to coast his hand through it.
“I love your hair,” he said. “Thank you … for the help. For taking the drink.”
She leaned forward earnestly and looked at him, searching out his face now. Words just on the far side of her skin, about to fall out. Wanting to know his name which he had forgotten to tell her. “I love your hair.” His shoulder was against the wall and he was trying to look up. Then his eyes were closed. So deeply asleep he would be gone for hours. She could twist him around like a puppet and he wouldn’t waken.
She felt as if she were the only one alive in this building. In such formal darkness. There was a terrible taste from that one drink still on her tongue, so she walked behind the zinc counter, turning on the tap to wash out her mouth. She moved the dial of the radio around a bit but brought it back securely to the same station. She was looking for that song he had half sung along with earlier, the voice of the singer strangely powerful and lethargic. She saw herself in the mirror. A woman whose hair was showing, caught illicit. She did what he had wanted to do. She ran her hand over her hair briefly. Then turned from her image.
Leaning forward she lay her face on the cold zinc, the chill there even past midnight. Upon her cheek, her eyelid. She let her skull roll to cool her forehead. The zinc was an edge of another country. She put her ear against the grey ocean of it. Its memory of a day’s glasses. The spill and the wiping cloth. Confessional. Tabula Rasa.
At the table she positioned the man comfortably so he would not fall on his arm. What is your name? she whispered. She bent down and kissed him, then began walking around the room. This orchard. Strangers kiss softly as moths, she thought.
In certain weather, when fog fills the valley, the men stay close to each other. They arrive for work and walk onto a path that disappears into whiteness. What country exists on the other side? They move in groups of three or four. Many have already died during
the building of the bridge. But especially on mornings like this there is a prehistoric fear, a giant bird lifting one of the men into the air.…
Nicholas has removed his hat, stepped into his harness, and dropped himself off the edge, falling thirty feet down through fog. He hangs under the spine of the bridge. He can see nothing, just his hands and the yard of pulley-rope above him. Six in the morning and he’s already lost to that community of men on the bridge who are also part of the fairy tale.
He is parallel to the lattice-work of hanging structures. Now he enters the cages of steel and wood like a diver entering a sunken vessel that could at any moment tip over into deeper fracture zones of the sea floor. Nicholas Temelcoff works as the guy derricks raise and lower the steel – assembling it further out towards the next pier. He directs the steel through the fog. He is a fragment at the end of the steel bone the derrick carries on the end of its sixty-foot boom. The steel and Nicholas are raised up to a temporary track and from there the ‘travellers’ handle it. On the west end of the viaduct a traveller is used to erect the entire 150-foot span. The travellers are twin derricks fitted with lattice-work booms that can lift twelve tons into any position, like a carrot off the nose of the most recently built section of the bridge.
Nicholas is not attached to the travellers, his rope and pulleys link up only with the permanent steel of a completed section of the bridge. Travellers have collapsed twice before this and fallen to the floor of the valley. He is not attaching himself to a falling structure. But he hangs beside it, in the blind whiteness, slipping down further within it until he can shepherd the new ribs of steel onto the end of the bridge. He bolts them in, having to free-fall in order to use all of his weight for the final turns of the giant wrench. He allows ten feet of loose rope on the pulley, attaches the wrench, then drops onto the two-foot handle, going down with it, and jars with the stiffening of the bolt, falling off into the air, and jars again when he reaches the end of the rope. He pulleys himself up and does it again. After ten minutes every bone feels broken – the air he stops in feels hard as concrete, his spine aching where the harness pulls him short.
In the Skin of a Lion Page 3