East is East (47 page)

It was getting late—four? five?—when he packed up his tools (a process that in itself involved half an hour) and left for the day. The hammering ceased. The splintering of glass, the wheezing and spitting and dull reverberant booming were no more. Silence fell over the studio, and it was then that Ruth felt the first faint stirrings of uncertainty. What if—what if the work was no good, after all? What if they didn't like it? What if she got up there and froze? She
imagined the satisfaction that would give Jane Shine, and she felt her stomach clench. But no, it was hunger, that was all, and she realized in that moment that she'd skipped lunch.

She sat at her desk and ate dutifully—cherry tomatoes fresh from the kitchen garden, salmon mousse with Dijon mustard and a sort of cracker bread Armand had devised himself—and she began to feel better. She thought of her makeup and hair and what she would wear. Nothing pretentious, that was for sure, no lace collars and Edwardian brooches. Jeans and a T-shirt. Earrings. Her aqua heels, the ones that showed off her toes and instep. She would keep it simple. Honest. Genuine. Everything the Shine extravaganza was not. And if the stories weren't finished, weren't yet what she wanted them to be, it wouldn't matter one whit—she was reading sections only, and the sections were strong. The thought lifted her spirits—food, that was all it was—and she felt the strength seeping back into her.

She rose from her desk and gathered up her papers, inserting the new crisply typed pages in an old unpretentious manila folder. The room was still. The sun held in the windows. She was aware for the first time that day of the birds slashing through the shadows, lighting in the bushes, making music for her alone. She was standing there at the window, her back to the door, having one last cigarette before heading back to get ready, when a sudden noise on the front porch startled her. Turning, expecting to see Parker Putnam fumbling around for some tool he'd forgotten, she had a shock: this wasn't Parker Putnam. It was Septima.

Septima. Ruth's first thought was that she'd lost her way, an embarrassment of age, but the look in the old lady's eye told her different. Septima stood there on the doorstep, giving the place a tight-lipped scrutiny, Owen at her side. She was wearing her gardening clothes—a straw sunbonnet, an old smock over a pair of jeans, men's shoes. “Ruthie,” she called in a voice that sounded harsh and strained, “I hate to disturb you, but I—may I come in?”

Ruth was so surprised she couldn't answer—Septima made it a strict rule never to visit any of the artists' studios, out of respect
for their privacy, and Hart Crane was a long walk for a woman of her age. Ruth crossed the room wordlessly and swung open the door.

Something was wrong. She could see it in Owen's face, see it in the way Septima avoided her eyes as she moved past her and lowered herself into the cane rocker. “Whew!” the old woman exclaimed, “this heat! I swear I'll never get used to it, never. Would you have a glass of water for me, please, Ruthie?”

“Of course,” Ruth said, and she poured a glass for Owen too, who remained standing in the doorway as if he hadn't really meant to come in. “Thanks, Ruth,” he said, draining the glass in a gulp. “Think I'll just step outside here a minute and inspect the damage,” he said to the room in general, setting the glass down on the windowsill. He focused on Septima. “You call if you need me.”

When Owen had gone, the screen door tapping gently behind him, Septima lifted her head to give Ruth a long slow look. The air was still, heavy with a premonition of rain. The crepitating sounds of the forest rushed in to fill the silence. “I see Parker's been here,” Septima said finally.

Ruth nodded. “He was banging around here all day—but it didn't disturb me, not really. I was lost in my work.”

“It's a pity,” Septima sighed, and Ruth agreed, though she wondered just what the old woman was referring to—Parker Putnam's dismal showing, the weather, the danger of being lost in one's work? “A real pity the way they shot up this place, Theron Peagler and all the rest of them. You'd think they'd know better. And the way they harried that poor Japanese boy—”

Again Ruth nodded. Again the old lady fell silent. Just outside the window a bird hit four notes in quick succession, up and down, up and down.

“Ruthie,” Septima said after a minute, “I'm very sorry for dis-turbin' you out here, and especially at a time when you'd be workin' hard to prepare for your readin', but a matter of the utmost importance has come up.”

Ruth had been fussing round the little room in an unconsciously
defensive way, a proprietary way, but now she took hold of the arms of the other rocker and settled into it as if it might come alive at any moment with the shock of 50,000 volts.

“I want to ask you about this Japanese boy—and I want to know the whole truth of the matter. It's become somethin' of an embarrassment for the colony, especially since he's gone and escaped—the phone, Ruthie, has been ringin' off the hook all day, reporters from New York and Los Angeles, everywhere. Well, I want to know the extent of your involvement—the full extent. I think I have a right to that knowledge, don't you?”

“Of course,” Ruth insisted, “of course you do, but like I told you—”

Septima cut her off. “You know I'm open-minded, Ruthie, and you know how I feel about the creative atmosphere at Thanatopsis and the artists' behavior as regards their personal ethics and standards of sexual conduct—”

Ruth could only stare at her.

“Well, when my son told me he was bringin' home a Jewish girl I didn't bat an eye—why would I, with all the talented Jewish artists we've had here over the years—but I'm gettin' away from what I want to say altogether. Whether you were more, more
intimate
with this foreign boy than you allow or not is really not at issue here …” She paused, and the silence could have engulfed ships and swallowed up oceans. “Ruth”—the sound of her own name made Ruth jump, she couldn't help it—“Ruth, what I want to say is that I had a call from Saxby this afternoon.”

A call from Saxby, a call from Saxby. Yes? And so?

“He was in jail, Ruth. In the Clinch County Jail in Ciceroville.”

“In jail?” Ruth couldn't have been more surprised had the old woman told her he was taken hostage in Lebanon. “For what?”

Septima gave her a close penetrating look. “My law-yers are seein' to that, don't you worry. He'll be out by this time and that sheriff down there and all the rest of them will be mighty sorry they ever tangled with Septima Lights, believe you me—but that isn't the point. The point is that they accused him of helpin' that boy escape
and takin' him in my car, my Mercedes, down to that swamp. The point is, Ruthie, I wonder who put that boy in the trunk of that car and what you want to tell me about it.”

Ruth was stunned. Paralyzed. She could feel her toehold at Thanatopsis slipping, her career in jeopardy, Saxby alienated from her, waitressing looming up like a black hole in her future. “I lied,” she blurted, “I admit it and I'm sorry. But just about Hiro, I mean how much I helped him when he was … was at large. But I swear to you, I had nothing to do with his getting out of that cell, I knew nothing about it—and neither did Sax.”

They sat there for half an hour, and Ruth fed the old woman the bits and crumbs of the truth about Hiro—but she'd never been intimate with him, never, she insisted on that—always circling back to the justification that she'd been using him for a story, for research, for art. That was it: she'd done it for art. And she hadn't meant any harm. She hadn't. Really.

When she was finished, the shadows beyond the window had lengthened perceptibly and the chatter of the forest had settled into an evening mode, richer now with the chirp of tree frogs and the booming basso of their pond-dwelling cousins. Owen was at the door. Septima cleared her throat. “They want you to go down there tomorrow, Ruthie—Mr. Abercorn does—and it's not a request. I know all about that shameful incident on the patio and I just kick myself for lettin' that class of people stay on at Thanatopsis, and I don't know how to be delicate about this, but I want you to go too.” Septima fixed her eyes on her. “And I'm afraid it's not a request either.”

“But—but what they did, grabbed me by the hair, called me names—” Ruth was angry now, she couldn't help herself. And then a little fist of fear clenched inside her. “What do they want with me?”

The old woman chose her words carefully. “I don't really know, Ruthie, but it seems to me the least you can do. My boy's gone to jail over this.” She let the words sink in, and the moment held between them, bloated and ugly. “In light of all this—” Septima
said finally, searching for the words, “—this emotional upset, I would understand if you'd like to postpone your readin' tonight …”

Postpone the reading! Ruth nearly came up out of the chair with joy and relief at the mention of it—off the hook, she was off the hook!—but then she caught herself. If she didn't read, no matter what the reason, short of nuclear war, they'd be on her like jackals.
Ruth backed down,
they'd say,
she's nothing but talk; did you bear what Jane Shine said about it?

“You're sure Saxby's all right?”

“I've known Donnager Stratton for forty-two years and he went down there personally to set things right.” Septima sighed. “He's a stubborn boy, Saxby, always has been. He's after those little white feeish, Ruthie, and he's goin' back into that swamp after 'em, manhunt or no manhunt. That's what he told me.”

Ruth looked down at her lap. She was still clutching the manila folder. When she looked up again, she'd made her decision. “No,” she said finally, “I'll read.”

The first thing he was going to do when they got him out of here was find that little paramilitary goon with the scraggly beard and kick his ass into the next county. And Abercorn too, that crud. The strong-arm tactics might go down with some poor scared hyperventilating wetback drowning in his own sweat, but he'd be damned if anybody was going to slap him around. Or Ruth either. It was unnecessary, totally unnecessary. It was outrageous, that's what it was.

Saxby Lights, scion of the venerable Tupelo Island clan, son of the late Marion and Septima Hollister Lights and lover of an obscure literary artist from Southern California, found himself in a concrete-block cell in the Clinch County Jail in Ciceroville, Georgia, guest of Sheriff Bull Tibbets and Special Agent Detlef Abercorn of the INS. The cell featured a stainless-steel toilet bolted to the floor and a cot bolted to the wall. Three of the walls were painted lime green and displayed an ambitious overlay of graffiti relating to Jesus Christ Our Savior, the probability of His coming, and the sex act as it was practiced between men and women, men and men, men and boys, and men and various other species. Crude drawings of a bearded Christ replete with halo alternated with representations of huge bloated phalluses that floated across the walls like dirigibles.
The fourth wall, which gave onto a concrete walkway, was barred from floor to ceiling, like the monkey cage in a zoo. The whole place smelled of Pine Sol cut with urine.

Saxby was on his feet—he was too angry to sit. In the interstices of his anger he was alternately depressed and worried, anxious for Ruth—and for himself too. Had she helped the kid escape? Had she concealed him in the trunk? He wouldn't put it past her, not after she'd hidden the whole business from him, not after she'd lied to him. Sure he was worried. He hadn't seen the inside of a jail cell since college, when he'd spent a night in the lockup at Lake George on a drunk-and-disorderly charge. But that hardly made him a career criminal. And while he could appreciate that the whole business with the Japanese kid looked pretty suspicious, especially after what Ruth had done, and he could understand that Abercorn was frustrated and beginning to look more than a little foolish, it didn't excuse a thing. They were such idiots. He was no criminal, couldn't they see that? He was the one who'd reported the guy in the first place. And yet here they'd sicked their commandos on him and wrenched his vertebrae out of joint, they'd handcuffed him and humiliated him and dragged him off to jail like some Sicilian drug runner. They didn't have to do that. He would have gone with them peaceably.

Or maybe he wouldn't have. On second thought, he definitely wouldn't have. That was the thing. Nothing could have gotten him off that island this morning—nothing short of physical force, that is—and the minute Donnager Stratton showed up he was going back, police cordon or no. What was he thinking?—settling the score with Abercorn and his henchman could wait.

The reason, of course, was
Elassoma okefenokee
(or
Elassoma okefenokee lightsei
—he couldn't resist appending his own name, though he knew it was a bit premature, and, well, a little childish too). He'd found them. He'd finally found them. And he'd just gotten going, just thrown his nets and discovered the mother lode, when that brain-dead little storm trooper came at him from behind. Talk about bad timing—he'd finally found his albinos, over two hundred of
them in his first six pulls, only to have them taken away from him. Or to be more accurate, he was taken away from them.

But it was amazing. There they were, right where Roy said they'd be. And the thing was, Roy hadn't even wanted him to go out—not after the Nipponese escape artist popped out of the trunk between them and tumbled headlong into the swamp. “What in god's name was that?” Roy had said, scratching his head and gaping out across the boat pond to where Hiro Tanaka was cutting a clean frothing wake to the other side. Saxby hadn't been able to answer him. He thought he was hallucinating. It was as if he'd thrown a ball up in the air and it hadn't come down, as if he'd turned on the gas range and flames had burst from his fingertips. His mouth fell open, his arms dangled like wash at his sides. But then he recovered himself, then the impossible became possible and he connected the trunk and Tupelo Island and the ground beneath his feet, and the anger came up on him like a thousand little cars racing out of control through his bloodstream. “You son of a bitch!” he bellowed, charging into the water like a bull alligator and shaking his fist at the retreating swimmer, “you, you”—he'd never used the words before, never, but out they came as if they were the very oleo of his vocabulary—“you Nip, you Jap, you gook!” He was standing there, knee-deep in the water, shaking his fist and waving his arms and shouting, “I'll kill you, I'll kill you yet!,” when Roy took him by the belt and led him back to shore.