“How many are there?” Bree asked.
“Nobody’s sure.” He took more of the dense, crumbling bread. “Maybe ten or so.”
“What is it they call it?” Bree said. “I mean a family of lions. Do they use the same word?”
“Pride,” Meric said. He looked at Bree. There was in her brown, gold-flecked eyes an unease he couldn’t read but knew; knew well, though never how to make it pass. Was it fear? She didn’t look at him. “A pride of lions. They use the same word.”
She stood, and he suggested to himself that he not follow her with his eyes around the house (“house” they called it, as they called workspaces “offices” and meeting-spaces “halls”; they knew what they meant). Something had been growing in her all day, he could tell it by her continual small questions, whose answers she didn’t quite listen to.
Somewhere, clay bells rang, calling to meeting or prayer.
“Sodality tonight?” he asked. Why wasn’t his tenderness a stronger engine against her moods?
“No.”
“Will you come and see the show?”
“I guess.”
He wasn’t able not to look at her, so he tried to do so in a way that seemed other than pleading, though to plead was what he wanted to do; plead what, plead how? She came to him as though he had spoken, and stroked his cheek with the back of her hand.
Meric was so fair, his hair so pale a gold, that his sharp-boned face never grew a beard; his hair ran out along his ears like a woman’s, and if he never shaved, a light down grew above his lip, but that was all. Bree loved that; it seemed so clean: She loved things she thought were clean, though she couldn’t express just what “clean” meant to her. His face was clean. She had depilated herself because she felt herself to be cleaner that way. The softest, cleanest feeling she knew was when he gently, with a little sound like gratitude, or relief, laid his smooth cheek there.
She didn’t want that now, though. She had touched him because he seemed to require it. She felt faintly unclean: which was like but different from feeling apprehensive.
She returned to her testament again, not as though to read it, but as though she wished to question it idly too. He wondered if she listened to Jesus’s answers with any more attention than she did his.
“Why is it you want to know about them?” he asked. “What is it they make you feel? I mean when you think about them.”
“I wasn’t.”
She perhaps wasn’t. She might have meant nothing by her questions. Sometimes she asked aimless questions about his shows, or about technical matters he dealt with, tape, cameras. Sometimes about the weather. Maybe it was he who kept thinking about them; couldn’t get the thought away from him. Maybe she only reflected an unease that he alone felt.
“‘Beware, watch well,’” Bree read, “‘for thine enemy like a roaring lion walketh about, seeking whom he may devour.’”
The Birthday Show began this way:
Isidore Candy’s hugely enlarged, kindly face, or his eyes, rather, filled the screens. The face moved away, so that his hat and great beard came into view. There was a rising note of music, a single note only, that seemed to proceed outward as the face retreated into full view. Through some art, the whole image was charged and expectant. A woman’s voice, deep, solemn almost, said without hurry:
“There was an old man with a beard
Who said: ‘It is just as I feared.
Two owls and a wren
Three sparrows and a hen
Have all built their nests in my beard.’”
At that moment the single note of music opened fanwise into a breath-snatching harmony, and the image changed: The eagles who had aeries in the craggy, unfinished tops of the Mountain opened their ponderous wings in the dawn and ascended, one crying out its fierce note, their shaggy legs and great talons seeming to grasp air to climb.
It was a moment Meric loved, not only because he was almost certain of its effect, how it would poise the audience, at the show’s beginning, on some edge between wit, surprise, awe, glory, warmth; but also because he remembered the chill dawn when he had hung giddy in the half light amid the beams, clutching his camera with numb fingers, waiting for the great living hulks within the stinking white-stained nest to wake and rise; and the joy in which his heart soared with them when they soared, in full light, in full view. He wasn’t so proud of any image he had ever made.
The Birthday Show was all Meric’s work. In a sense it was his only work: shown each year on Candy’s birthday, it was changed each year, sometimes subtly, sometimes in major ways, to reinforce the effects Meric saw—felt, more nearly—come and go in the massed audiences that each year witnessed it. He had a lot of opportunity to check these reactions: even in the huge multiscreen amphitheater it took nearly a month of showings for everyone who lived in the Mountain to see it each year, and nearly everyone wanted to see it.
Bree thought of it as his only work, though she knew well enough that most of his year was taken up with training tapes, and a regular news digest, and propaganda for the outside. Those things were “shows.” This was “your show.” He asked her every year if she thought it was better now, and laughed, pleased, when she told him it was wonderful but she didn’t notice that it was any different. She was his perfect audience.
Meric had acquired, or perhaps had by instinct, a grasp of the power a progress of images had on an audience, of the rhythms of an audience’s perceptions, of what reinforcement—music, voice, optical distortion—would cause a series of random images to combine within an audience’s mind to make complex or stunningly simple metaphors. And he made it all out of the commonest materials: though it was all his work, in another sense very little of it was, because he composed it out of scraps of old footage, discarded tapes, ancient documentaries, photographs, objects—a vocabulary he had slowly and patiently, with all the squirrelly ingenuity that had built Candy’s Mountain itself, hoarded up and tinkered with over the years. The very voice that spoke to the audience, not as though from some pillar of invisibility but as though it were a sudden, powerful motion of the viewer’s own mind, was the voice of Emma Roth, the woman he worked with in Genesis Section: a voice he had first heard speaking wildlife-management statistics into a recorder, a voice that made numbers compelling. A wizard’s voice. And she completely unaware of it.
“Use it up,” Emma’s voice said in every ear, as they watched old tapes of the Mountain being built out of the most heterogeneous materials, “use it up, wear it out, make it do, do without”: said no differently from the way she had said it one day to Meric when he asked about getting fresh optical tape. Yet she said it as though it were a faith to live by: as they did live by it.
Bree surrendered altogether to the mosaic of word and image, as she could surrender, at times, in prayer: in fact the Birthday Show was most like prayer. Some of it frightened her, as when over flaming and degraded industrial landscapes a black manna seemed endlessly to fall, and dogs and pale children seemed to seek, amid blackened streets, exits that were not there, and the sky itself seemed to have turned to stone, stained and eternally filthy, and Emma said in a voice without reproach or hope:
“The streams of Edom will be turned into pitch, and her soil into brimstone; her land shall become burning pitch. Night and day it shall not be quenched; its smoke shall go up forever. From generation to generation it shall lie waste; none shall pass through it for ever and ever. They shall name it No Kingdom There; and its princes shall be nothing.”
For ever and ever! No, it could not be borne; Bree covered her mouth with her hands, hands ready to cover her eyes if she couldn’t bear the scenes of war that followed: blackened, despairing faces, refugees, detention centers, the hopeless round of despair for ever and ever…. Only by stages was it redeemed; amaryllis in flower, cocoon opening, a butterfly’s panting wings taking shape. Genesis Preserve: a thousand square miles stolen from Edom. Day rose over it, passed from it. She saw its fastnesses. Rapt, she let her hands slowly come to rest again. Emma spoke the words of an ancient treaty the Federal had made with the Indians, giving them the forests and plains and rivers in perpetuity, fine rolling promises; governments had made the same promises to the people of Candy’s Mountain, and so there was warning as well as security in Emma’s words. Then far off, seen from the unpeopled fastnesses of the Preserve, blue and shadowy as a mountain, remote, as though watched by deer and foxes, their home. Emma said again: “None shall pass through it for ever and ever; they shall name it No Kingdom There, and its princes shall be nothing,” and Bree didn’t know whether the change of meaning, which she understood in ways she couldn’t express, made her want to laugh or cry.
Withdraw: that was what Candy had preached (only not preached, he was incapable of preaching, but he made himself understood, even as Meric’s show did). You have done enough damage to the earth and to yourselves. Your immense, battling ingenuity: turn it inward, make yourselves scarce, you can do that. Leave the earth alone: all its miracles happen when you’re not looking. Build a mountain and you can all be troll-kings. The earth will blossom in thanks for it.
A half century and more had passed since Candy’s death, but there was as yet only one of the thousand mountains, or badger setts, or coral reefs that Candy had imagined men withdrawing into for the earth’s sake and for their own salvation. The building of that one had been the greatest labor since the cathedrals; was a cathedral; was its own god, though every year Jesus grew stronger there.
All the world’s miracles: Meric had combed the patronizing nature-vaudevilles of the last century and culled from them images of undiluted wonder. There was never a time that Bree didn’t weep when from the laboring womb of an antelope, standing with legs apart, trembling, there appeared the struggling, fragile foreleg of its child, then its defenseless head, eyes huge and wide with exhaustion and sentience, and the voice, as though carried on a steady wind of compassion and wisdom, whispered only: “Pity, like a naked newborn babe,” and Bree renewed her vows, as they all silently did, that she would never, never consciously hurt any living thing the earth had made.
Riding upward on the straining elevators, Bree felt that the taint of un-cleanness was gone, washed away, maybe, by the sweet tears she had shed. She felt a great, general affection for the crowds she rode with; their patience with the phlegmatic elevator, the small jokes they made at it—“very grave it is,” someone said; “Well, gravity is its business,” said another—the nearness and warmth of their bodies, the sense that she was enveloped by their spirits as by breath: all this felt supremely right. What was the word the Bible used? Justified. That was what she felt as she rode the great distance to her level: justified.
She and Meric made love later, in the way they had gradually come most to want each other. They lay near each other, almost not touching, and with the least possible contact they helped each other, with what seemed infinite slowness, to completion, every touch, even of a fingertip, made an event by being long withheld. They knew each other’s bodies so well now, after many years, since they were children, that they could almost forget what they did, and make a kind of drunkenness or dream between them; other times, as this time, it was a peace: it suspended them together in some cool flame where each nearly forgot the other, feeling only the long, retarded, rearising, again retarded, and at last inevitable arrival, given to each in a vacuum as though by a god.
Sleep was only a gift of the same god’s left hand after these nearly motionless exertions; Bree was asleep before she took her hand from Meric. But, much as he expected sleep, Meric lay awake, surprised to feel dissatisfaction. He lay beside Bree a long time. Then he rose; she made a motion, and he thought she might wake, but she only, as though under water, rolled slowly to her side and composed herself otherwise, in a contentment that for some reason lit a small flame of rage in him.
What’s wrong with me?
He went out onto the terrace, his body enveloped suddenly in wind, cold and sage-odorous. The immensity of night above and below him, the nearness of the sickle moon, and the great distance of the earth were alike claustrophobic, and how could that be?
Far off, miles perhaps, he could just see for a moment a tiny, clouded orange spark. A fire lit on the plains. Where no fire was ever to be lit again. For some reason, his heart leapt at that thought.
In the mornings, Meric moved comfortably in seas of people going from nightwork or to daywork, coming from a thousand meetings and masses, many of them badged alike or wearing tokens of sodalities or work groups or carrying the tools of trades. Most wore Blue. Some, like himself, were solitary. Not seas of people, then, but people in a sea: a coral reef, dense with different populations, politely crossing one another’s paths without crossing one another’s purposes. He went down fifty levels; it took most of an hour.
“Two or three things we know,” Emma Roth told him as she made tea for them on a tiny burner. “We know they’re not citizens of anywhere, not legally. So maybe none of the noninfringement treaties we have with other governments applies to them.”
“Not even the Federal?”
“It’s all
men
that are created equal,” Emma said. “Anyway, what can the Federal do? Send in some thugs to shoot them? That seems to be all they know how to do these days.”
“What else do we know?”
“Where they are, or were yesterday.” She was no geographer; the maps she had pinned to the wall were old paper ones, survey maps with many corrections. “Here.” She made a small mark with delible pencil. Meric thought suddenly that after all no mark she could make would be small enough; it would blanket them vastly.
“We know they’re all one family.”
“Pride,” Meric said.
Emma regarded him, a strange level look in her hooded gray eyes. “They’re not lions, Meric. Not really. Don’t forget that.” She lit a cigarette, though the nearly extinguished stub of another lay near her in an ashtray. Smoking was perhaps Emma’s only vice; she indulged it continuously and steadily, as though to insult her own virtue, as a leavening. Almost nobody Meric knew smoked; Emma was always being criticized for it, subtly or openly, by people who didn’t know her. “Well,” she’d say, her voice gravelly with years of it, “I’ve got so much punishment stored up in hell for me that one more sin won’t matter. Besides”—it was a tenet of the cheerful religion she practiced—“what’s all this fear of sin? If God made hell, it must be heaven in disguise.”