Educational > English Language Lab
Short Stories
nusrat-diu:
Anton Chekhov
Grief
The turner, Grigory Petrov, who had been known for years past as a splendid craftsman, and at the same time as the most senseless peasant in the Galtchinskoy district, was taking his old woman to the hospital. He had to drive over twenty miles, and it was an awful road. A government post driver could hardly have coped with it, much less an incompetent sluggard like Grigory. A cutting cold wind was blowing straight in his face. Clouds of snowflakes were whirling round and round in all directions, so that one could not tell whether the snow was falling from the sky or rising from the earth. The fields, the telegraph posts, and the forest could not be seen for the fog of snow. And when a particularly violent gust of wind swooped down on Grigory, even the yoke above the horse's head could not be seen. The wretched, feeble little nag crawled slowly along. It took all its strength to drag its legs out of the snow and to tug with its head. The turner was in a hurry. He kept restlessly hopping up and down on the front seat and lashing the horse's back.
"Don't cry, Matryona, ..." he muttered. "Have a little patience. Please God we shall reach the hospital, and in a trice it will be the right thing for you ... Pavel Ivanitch will give you some little drops, or tell them to bleed you; or maybe his honor will be pleased to rub you with some sort of spirit -- it'll ... draw it out of your side. Pavel Ivanitch will do his best. He will shout and stamp about, but he will do his best ... He is a nice gentleman, affable, God give him health! As soon as we get there he will dart out of his room and will begin calling me names. 'How? Why so?' he will cry. 'Why did you not come at the right time? I am not a dog to be hanging about waiting on you devils all day. Why did you not come in the morning? Go away! Get out of my sight. Come again to-morrow.' And I shall say: 'Mr. Doctor! Pavel Ivanitch! Your honor!' Get on, do! plague take you, you devil! Get on!"
< 2 >
The turner lashed his nag, and without looking at the old woman went on muttering to himself:
"'Your honor! It's true as before God ... Here's the Cross for you, I set off almost before it was light. How could I be here in time if the Lord ... The Mother of God ... is wroth, and has sent such a snowstorm? Kindly look for yourself ... Even a first-rate horse could not do it, while mine -- you can see for yourself -- is not a horse but a disgrace.' And Pavel Ivanitch will frown and shout: 'We know you! You always find some excuse! Especially you, Grishka; I know you of old! I'll be bound you have stopped at half a dozen taverns!' And I shall say: 'Your honor! am I a criminal or a heathen? My old woman is giving up her soul to God, she is dying, and am I going to run from tavern to tavern! What an idea, upon my word! Plague take them, the taverns!' Then Pavel Ivanitch will order you to be taken into the hospital, and I shall fall at his feet ... 'Pavel Ivanitch! Your honor, we thank you most humbly! Forgive us fools and anathemas, don't be hard on us peasants! We deserve a good kicking, whi le you graciously put yourself out and mess your feet in the snow!' And Pavel Ivanitch will give me a look as though he would like to hit me, and will say: 'You'd much better not be swilling vodka, you fool, but taking pity on your old woman instead of falling at my feet. You want a thrashing!' 'You are right there -- a thrashing, Pavel Ivanitch, strike me God! But how can we help bowing down at your feet if you are our benefactor, and a real father to us? Your honor! I give you my word, ... here as before God, ... you may spit in my face if I deceive you: as soon as my Matryona, this same here, is well again and restored to her natural condition, I'll make anything for your honor that you would like to order! A cigarette-case, if you like, of the best birchwood, ... balls for croquet, skittles of the most foreign pattern I can turn ... I will make anything for you! I won't take a farthing from you. In Moscow they would charge you four roubles for such a cigarette-case, but I won't take a farthing.' The doctor will laugh and say: 'Oh, all right, all right ... I see! But it's a pity you are a drunkard ... ' I know how to manage the gentry, old girl. There isn't a gentleman I couldn't talk to. Only God grant we don't get off the road. Oh, how it is blowing! One's eyes are full of snow."
< 3 >
And the turner went on muttering endlessly. He prattled on mechanically to get a little relief from his depressing feelings. He had plenty of words on his tongue, but the thoughts and questions in his brain were even more numerous. Sorrow had come upon the turner unawares, unlooked-for, and unexpected, and now he could not get over it, could not recover himself. He had lived hitherto in unruffled calm, as though in drunken half-consciousness, knowing neither grief nor joy, and now he was suddenly aware of a dreadful pain in his heart. The careless idler and drunkard found himself quite suddenly in the position of a busy man, weighed down by anxieties and haste, and even struggling with nature.
The turner remembered that his trouble had begun the evening before. When he had come home yesterday evening, a little drunk as usual, and from long-established habit had begun swearing and shaking his fists, his old woman had looked at her rowdy spouse as she had never looked at him before. Usually, the expression in her aged eyes was that of a martyr, meek like that of a dog frequently beaten and badly fed; this time she had looked at him sternly and immovably, as saints in the holy pictures or dying people look. From that strange, evil look in her eyes the trouble had begun. The turner, stupefied with amazement, borrowed a horse from a neighbor, and now was taking his old woman to the hospital in the hope that, by means of powders and ointments, Pavel Ivanitch would bring back his old woman's habitual expression.
"I say, Matryona, ..." the turner muttered, "if Pavel Ivanitch asks you whether I beat you, say, 'Never!' and I never will beat you again. I swear it. And did I ever beat you out of spite? I just beat you without thinking. I am sorry for you. Some men wouldn't trouble, but here I am taking you ... I am doing my best. And the way it snows, the way it snows! Thy Will be done, O Lord! God grant we don't get off the road ... Does your side ache, Matryona, that you don't speak? I ask you, does your side ache?"
< 4 >
It struck him as strange that the snow on his old woman's face was not melting; it was queer that the face itself looked somehow drawn, and had turned a pale gray, dingy waxen hue and had grown grave and solemn.
"You are a fool!" muttered the turner ... "I tell you on my conscience, before God, ... and you go and ... Well, you are a fool! I have a good mind not to take you to Pavel Ivanitch!"
The turner let the reins go and began thinking. He could not bring himself to look round at his old woman: he was frightened. He was afraid, too, of asking her a question and not getting an answer. At last, to make an end of uncertainty, without looking round he felt his old woman's cold hand. The lifted hand fell like a log.
"She is dead, then! What a business!"
And the turner cried. He was not so much sorry as annoyed. He thought how quickly everything passes in this world! His trouble had hardly begun when the final catastrophe had happened. He had not had time to live with his old woman, to show her he was sorry for her before she died. He had lived with her for forty years, but those forty years had passed by as it were in a fog. What with drunkenness, quarreling, and poverty, there had been no feeling of life. And, as though to spite him, his old woman died at the very time when he felt he was sorry for her, that he could not live without her, and that he had behaved dreadfully badly to her.
"Why, she used to go the round of the village," he remembered. "I sent her out myself to beg for bread. What a business! She ought to have lived another ten years, the silly thing; as it is I'll be bound she thinks I really was that sort of man ... Holy Mother! but where the devil am I driving? There's no need for a doctor now, but a burial. Turn back!"
< 5 >
Grigory turned back and lashed the horse with all his might. The road grew worse and worse every hour. Now he could not see the yoke at all. Now and then the sledge ran into a young fir tree, a dark object scratched the turner's hands and flashed before his eyes, and the field of vision was white and whirling again.
"To live over again," thought the turner.
He remembered that forty years ago Matryona had been young, handsome, merry, that she had come of a well-to-do family. They had married her to him because they had been attracted by his handicraft. All the essentials for a happy life had been there, but the trouble was that, just as he had got drunk after the wedding and lay sprawling on the stove, so he had gone on without waking up till now. His wedding he remembered, but of what happened after the wedding -- for the life of him he could remember nothing, except perhaps that he had drunk, lain on the stove, and quarreled. Forty years had been wasted like that.
The white clouds of snow were beginning little by little to turn gray. It was getting dusk.
"Where am I going?" the turner suddenly bethought him with a start. "I ought to be thinking of the burial, and I am on the way to the hospital ... It as is though I had gone crazy."
Grigory turned round again, and again lashed his horse. The little nag strained its utmost and, with a snort, fell into a little trot. The turner lashed it on the back time after time ... A knocking was audible behind him, and though he did not look round, he knew it was the dead woman's head knocking against the sledge. And the snow kept turning darker and darker, the wind grew colder and more cutting ...
"To live over again!" thought the turner. "I should get a new lathe, take orders, ... give the money to my old woman ..."
< 6 >
And then he dropped the reins. He looked for them, tried to pick them up, but could not -- his hands would not work ...
"It does not matter," he thought, "the horse will go of itself, it knows the way. I might have a little sleep now ... Before the funeral or the requiem it would be as well to get a little rest ..."
The turner closed his eyes and dozed. A little later he heard the horse stop; he opened his eyes and saw before him something dark like a hut or a haystack ...
He would have got out of the sledge and found out what it was, but he felt overcome by such inertia that it seemed better to freeze than move, and he sank into a peaceful sleep.
He woke up in a big room with painted walls. Bright sunlight was streaming in at the windows. The turner saw people facing him, and his first feeling was a desire to show himself a respectable man who knew how things should be done.
"A requiem, brothers, for my old woman," he said. "The priest should be told ..."
"Oh, all right, all right; lie down," a voice cut him short.
"Pavel Ivanitch!" the turner cried in surprise, seeing the doctor before him. "Your honor, benefactor! "
He wanted to leap up and fall on his knees before the doctor, but felt that his arms and legs would not obey him.
"Your honor, where are my legs, where are my arms!"
"Say good-by to your arms and legs ... They've been frozen off. Come, come! ... What are you crying for ? You've lived your life, and thank God for it! I suppose you have had sixty years of it -- that's enough for you! ..."
< 7 >
"I am grieving ... Graciously forgive me! If I could have another five or six years! ..."
"What for?"
"The horse isn't mine, I must give it back ... I must bury my old woman ... How quickly it is all ended in this world! Your honor, Pavel Ivanitch! A cigarette-case of birchwood of the best! I'll turn you croquet balls ..."
The doctor went out of the ward with a wave of his hand. It was all over with the turner.
nusrat-diu:
Nels Schifano
Three Letters
It was autumn. Although still afternoon the journey had been spent peering at slowly moving red lights through clouds of condensing exhaust and the intermittent slip-slip of wipers. Now as she turned off the ignition darkness gathered silently around her. She walked head down, hood up, feeling plastic handles moulding themselves around her fingers, the carrier bag spinning one way then the next as it clipped against her leg. The pavement was thick with the slippery brown mulch of fallen leaves and the smell of bonfires wafted across the common. A thin mist clung around the streetlights producing a shifting yellow gas. Sounds were muffled and movements lethargic. Cars slipped slowly by on a film of dirty water. At her gate she delayed, unwilling to break the stillness with squeaking hinges; not yet teatime and the city was being put to sleep.
The terrace before her hugged the curve of the road tumbling erratically down the hill and into the gloom. Bending around the edges of her vision she was conscious of curtains being swished closed, stone faces bathed by the grey light of televisions, broken roof tiles, satellite dishes, bay windows, the whole higgledy-piggledy collection of guttering and skylights. For a moment her home was a stranger, a simple compartment in this huge connected structure.
She rattled the key into the lock, tilting it to the particular angle that would allow it to catch. She stepped inside, her hand brushing the light switch as she closed the door behind her. The softly lit warmth of the interior walls were a welcome contrast to the dark slimy surfaces of the outside. Two elderly neighbours warmed the house from the sides and soon she would hear the comforting noises of the boiler rousing itself into life.
She kept her mind occupied by these happy details of returning home as she walked along the hall and into the kitchen. She lifted the carrier bag onto the worktop and reached for the kettle. Standing in the centre of the room, still in her anorak, she listened to the sound of the water boil and felt the house adjust itself to her presence. Now she returned at all times of the day she sometimes sensed she had caught it unawares. What ghosts that had been running through rooms were now slipping reluctantly back into walls? While its inhabitants had moved the house stayed still, preserving pockets of time in dusty corners. The blue-tak tears on bedroom walls, a water-colour sun and stick man hiding behind a fitted wardrobe, a dent in a table, a crack in a mirror, were all passing moments etched into the physical world, like voices pressed into vinyl.
< 2 >
Steam began to rise vertically to the ceiling where it changed direction aware of the presence of some subtle draft (or draft of some subtle presence). Through the window she could see the outline of the narrow garden, the fuzzy grey shapes of a rusting climbing frame and overflowing compost heap. Along one side a scruffy fence lent drunkenly one way then the other, while a brutally straight line of six-foot high boards marked the other side of the territory. What further anti-cat measures (minefields, tripwires perhaps) lay waiting beyond? As if summoned by her thoughts Rahel, green eyes and a flicking tail, appeared on the window ledge, her silent meows making small circles of condensation. Smiling, she unlocked the door. The cat padded in, figures of eight around her feet represented by muddy paw prints on the kitchen floor. The kettle worked itself towards a crescendo, beads of perspiration appeared on its sides and it shook violently unable to contain the bubbling pressure inside. Abruptly it finished, sat back on the filament and turned itself off.
She reached up to the top cupboards for the coffee jar and bent down for those that contained the mugs. Here she paused, confused by the vast number of assorted cup, mugs and beakers that stared blankly back at her. Why did she have so many? Where had they come from? She sighed as she straightened pulling out a standard shaped mug with handle; colour - light blue; design - three letters emblazoned in gold, S U E.
She took off her coat and laid it over the back of the oak kitchen chair and sat down. She let her feet slip out of her shoes and raised them onto the fitted bench across the other side of the table. Above the bench were shelves supporting decorative plates in wire stands, a Charles and Diana mug (more mugs!), and a collection of photographs showing either madly grinning or defiantly sulky children (both on the verge of crying). As she looked the image of a growing family seemed to slowly recede to reveal the image of a shrinking woman.
< 3 >
There was the sudden sound of water flooding into a drain as somewhere nearby a plug was pulled from a sink, a toilet was flushed or maybe a washing machine emptied itself and she realised that her coffee had gone cold. She moved to the sink and ran the hot water. Staring out into darkness she listened to the succession of far-off bangs and shudders from the network of pipes. Bathed in yellow light hovering over the gloom of the garden she looked in at a woman repeatedly working a tea towel around the inside of a mug. Who was she? Why was she so miserable?
She shook herself and took out the plug. Slipped away again into nothing time (that time that flowed into the gaps between the things you did). Wouldn't a wasted minute become a wasted hour, wasted hours become wasted days? Where could she be now if she hadn't been doing, what? - making tea, sitting in traffic jams, reading the local paper, standing in a supermarket queue. Best avoided, the thought of her life draining into these moments.
She unpacked the carrier bag. She put away the milk, the orange, the biscuits and the cat food, then struggled to slide the two pizza's into an already crowded freezer spraying tiny shards of ice across the floor. An overflowing collection of polythene bags scrunched inside other polythene bags in the bottom of a cupboard was her commitment to recycling. When it was opened a white plastic avalanche slid towards her. She threw in the latest addition and slammed the door. A lone bag made a break for freedom and buoyed by the swish of air it lifted across the room like a jellyfish. Two pairs of eyes followed its progress over the spice rack and breadboard until it was caught on a bottle of olive oil.
The oak bench was not just a foot rest. She had made this discovery during a rigorous cleaning session one New Year. Under the lip of the removable cushioned seat she had found a small catch, rusty enough to break two nails. Eventually it yielded and raised to reveal a dark, hollow chest. Despite a few moments when her heartbeat seemed to fill the house, it proved to contain nothing more exciting than a pile of old newspapers - more dirtiness to clean. It was, she decided, an ideal place to store tablecloths and tea towels, but steadily it began to swallow bedding, pillowcases and blankets of various sorts. Really, it was ridiculous to think that no one else was aware of its existence (was she the only one ever to change a bed, lay a table?) Still, she always thought of it as hers, and, when alone in the house, she opened it, she experienced a flush of childish excitement. She felt it rise now as her fingers fumbled beneath soft layers of folded cotton searching for the sharp cold of a shiny metal toffee tin.
< 4 >
She put the tin on the table. Inside lay a medal from the Polish Airforce; a commemorative coin; a pebble taken from Ilfracomb beach in 1978 (could she really remember the heavy heat of that day or did she need the proof of the pebble to tell her she had been there); a present bought but never given; and inside a neatly folded bag, three envelopes. She glanced around the room, from somewhere inside a wall a pipe clanked - the house clearing its throat - and took out the top envelope.
An antelope leapt across a colourful stamp. It looked startled as antelopes often do caught in the sights of the black postmark. The paper inside was thick and cream-coloured, it had a blue letterhead and the date in the top right hand corner was July 2000. As she let her eyes wander over the page she noticed it was just a little crumpled, stiff in places, as if it had been wetted then dried.
*
This must be something of a surprise. If, that is, this letter gets to you. I remembered your address, of course, but then it suddenly struck me that maybe you had moved and I didn't know and anyway the post round here isn't exactly reliable. So perhaps I am only writing a letter to myself.
Really now that I've started I can't think what it was I wanted to say. I think it was just the act of writing that was important, just to feel as if I was still in contact with things, although I guess a blank piece of paper in an envelope would have seemed a little strange.
I've really no need to ask how things are with you. It all seems to have worked out pretty much as you planned. But still I hope you are both healthy and happy.
I am afraid I've done nothing very exciting to tell you about. Here is just an endless succession of long boring tasks, and then there's the heat and the clouds of flies that rise from the river and make everything twice as hard. But this evening as I washed and dried my clothes suddenly there was this feeling of satisfaction. Strange, five months of toil and worry then calm descends as welcome and unexpected as an ice-cream van clattering through the bush.
< 5 >
Maybe that's why I am writing this letter. Perhaps it's thinking about England in the summer, perhaps it's the sounds of the river at night but my mind wandered back to the place of long afternoons, listening to Pink Moon and Lay Lady Lay. Can you still find a way back to the taste of cheap wine, the feel of grass between your fingers and a world that was all shimmering reflections?
All those people disappeared into the world. How would they be recognised now - perhaps only by the sound of their laughter?
I'm afraid I once damaged the environment in your name and took a penknife to the willow we used to sit by. I can remember wondering if the bark would ever grow back. If you ever find yourself driving past one weekend . . . Well perhaps not, it's probably so sadly different. But I know your name will still be there, carved in the memory of a tree.
*
She re-folded the letter and tapped it several times against her top lip. From the hall the clock calling out the quarter hour, then a moment of stillness - time stalling - before, faintly, the clock in her study responded.
She took out the next envelope. While her fingers searched for the flap she looked at the Queen's silver silhouette. The letter was written on paper so white and thin that as her gaze fell across it she saw it as a shade of blue. The date was April 1976.
*
Do I remember that September afternoon when I first met you? Is it possible to remember the slide into sleep or the hypnotist's fingers on your eyelids? I only know that it happened because at some stage I awoke.
Some things are clear, the lucid fragments of a dream, a conversation over the phone one Easter. We both felt down because I was working in a stuffy shop and you in a sorting office. I hated it and asked you how it was that time moved so slowly. It's okay, you said, it doesn't matter, because it will end and time passed is all the same, and anyway, in the end it's not time that you're left with.
< 6 >
You told me to go look for happiness and bring some back when I found it. But you can't bank happiness. You can't keep it for when you need it and you cannot give to someone else simply by having it yourself.
I thought I would be content to watch the river flow past and drift away on the scent of water lilies. I watched days become nights and nights gently give way to days, believing I was shedding my cares when really I was storing regrets. Now I know that reading is dreaming, that dreaming is sleeping and thought inaction. When I wake I find that all I have left is thoughts of you.
*
The noise of the cat jumping clumsily onto her lap, the feeling of her pressing up and down with alternate paws, claws snagging loops of cotton.
This time the silhouette is not the Queen's but that of Nehru, a white head against an orange background. The stamp is stuck on at an odd angle (but still stuck after all this time!) and he stares down at the scraggly lines of a familiar address. The letter itself is written on a school child's lined paper, as her eyes run down the page they linger on the date, Nov. 1968 and the dappling of yellow blotches. What were they? Had they always been there?
*
I still can't believe you decided to go. Why go back to the grey, the dirt, the noise, the rush? There is a lifetime to do those things. I know you chase that dream of yours, but the dream is so sweetly deferred here. Here I feel as if I am absorbing the sunshine and serenity.
Since you left we moved further east where the earth here has a reddish tinge and so does the food. Today we met a group of Americans. We got a ride on the roof of their van and helped them collect firewood. They say there is an old man who sells the beads you wanted from the front of his hut, and eight miles of white sand.
< 7 >
I am writing this in a flickering of orange and blackness. This is the best time, talking and reading, the world melting away into words, although sometimes a phrase is so beautiful I have to walk around a little just to let them settle in. One of these made me think of you. 'Do that which makes you happy to do, and you will do right.'
*
The freezer's cooling mechanism rattled, then fell silent, and she realised that she hadn't been aware of the noise it was making. In its absence the air in the house seemed to hang with that same question; how would her life have been if she had managed to send just one of them? But the air received no answers and went back to its lazy circulation.
In time she would fold the letter away and place it back in the envelope, place the envelopes back into the bag, the bag back into the tin and the tin into the trunk. She would cover it with layers of cloth and place down the seat and lock the catch. But now she just sat for a moment, the noise of the cat's contented breathing filling the house.
nusrat-diu:
Ursula Wills-Jones
The Wicker Husband
Once upon a time, there was an ugly girl. She was short and dumpy, had one leg a bit shorter than the other, and her eyebrows met in the middle. The ugly girl gutted fish for a living, so her hands smelt funny and her dress was covered in scales. She had no mother or brother, no father, sister, or any friends. She lived in a ramshackle house on the outskirts of the village, and she never complained.
One by one, the village girls married the local lads, and up the path to the church they'd prance, smiling all the way. At the weddings, the ugly girl always stood at the back of the church, smelling slightly of brine. The village women gossiped about the ugly girl. They wondered what she did with the money she earnt. The ugly girl never bought a new frock, never made repairs to the house, and never drank in the village tavern.
Now, it so happened that outside the village, in a great damp swamp, lived an old basket-maker who was famed for the quality of his work. One day the old basket-maker heard a knock on his door. When he opened it, the ugly girl stood there. In her hand, she held six gold coins.
'I want you to make me a husband,' she said.
'Come back in a month,' he replied.
Well, the old basket-maker was greatly moved that the ugly girl had entrusted him with such an important task. He resolved to make her the best husband he could. He made the wicker husband broad of shoulder and long of leg, and all the other things women like. He made him strong of arm and elegant of neck, and his brows were wide and well-spaced. His hair was a fine dark brown, his eyes a greenish hazel.
When the day came, the ugly girl knocked on the basket-maker's door.
'He says today is too soon. He will be in the church tomorrow, at ten,' said the basket-maker. The ugly girl went away, and spent the day scraping scales from her dress.
< 2 >
Later that night, there was a knock on the door of the village tailor. When the tailor opened it, the wicker husband stood outside.
'Lend me a suit,' he said. 'I am getting married in the morning, and I cannot go to church naked.'
'Aaaaaaargh!' yelled the tailor, and ran out the back door.
The tailor's wife came out, wiping her hands. 'What's going on?' she said.
'Lend me a suit,' said the wicker husband. 'I am getting married tomorrow, and I cannot go to my wedding naked.'
The tailor's wife gave him a suit, and slammed the door in his face.
Next, there was a knock on the door of the village shoe-maker. When the shoe-maker opened it, the wicker husband stood there.
'Lend me some shoes,' he said. 'I am getting married in the morning, and I cannot go to church barefoot.'
'Aaaaaaargh!' yelled the shoe-maker, and he ran out the back door.
The shoe-maker's wife came out, her hands trembling.
'What do you want?' she said.
'Lend me some shoes,' said the wicker husband. 'I am getting married in the morning, and I cannot go to my wedding barefoot.'
The shoe-maker's wife gave him a pair of shoes, and slammed the door in his face. Next, the wicker husband went to the village inn.
'Give me a drink,' said the wicker husband. 'I am getting married tomorrow, and I wish to celebrate.'
'Aaaaaaargh!' yelled the inn-keeper and all his customers, and out they ran. The poor wicker husband went behind the bar, and poured himself a drink.
When the ugly girl got to church in the morning, she was mighty pleased to find her husband so handsome, and so well turned-out.
< 3 >
When the couple had enjoyed their first night of marriage, the wicker husband said to his wife: 'This bed is broken. Bring me a chisel: I will fix it.'
So like a good husband, he began to fix the bed. The ugly girl went out to gut fish. When she came back at the end of the day, the wicker husband looked at her, and said: 'I was made to be with you.'
When the couple had enjoyed their second night of marriage, the wicker husband said: 'This roof is leaky. Bring me a ladder: I will fix it.'
So, like a good husband, he climbed up and began to fix the thatch. The ugly girl went out to gut fish. When she returned in the evening, the wicker husband looked at his wife, and said: 'Without you, I should never have seen the sun on the water, or the clouds in the sky.'
When the couple had enjoyed their third night of marriage, the ugly girl got ready to out. 'The chimney needs cleaning,' she said, hopefully, 'And the fire could be laid...' But at this, the wicker husband - she was just beginning to learn his expressions - looked completely terrified. From this, the ugly girl came to understand that there are some things you cannot ask a man to do, even if he is very kind.
Over the weeks, the villagers began to notice a change in the ugly girl. If one of her legs was still shorter than the other, her hips moved with a swing that didn't please them. If she still smelt funny, she sang while she gutted the fish. She bought a new frock and wore flowers in her hair. Even her eyebrows no longer met in the middle: the wicker husband had pulled them out with his strong, withied fingers. When the villagers passed the ugly girl's house, they saw it had been painted anew, the windows sparkled, and the door no longer hung askew. You might think that all these changes pleased the villagers, but oh no. Instead, wives pointed out to husbands that their doors needed fixing, and why didn't they offer? The men retorted that maybe if their wives made an effort with new frocks and flowers in their hair, then maybe they'd feel like fixing the house, and everybody grumbled and cursed each other, but secretly, in their hearts, they blamed the ugly girl and her husband.
< 4 >
As to the ugly girl, she didn't notice all the jealousy. She was too busy growing accustomed to married life, and was finding that the advantages of a wicker husband outweighed his few shortcomings. The wicker husband didn't eat, and never complained that his dinner was late. He only drank water, the muddier the better. She was a little sad that she could not cook him dinner like an ordinary man, and watch him while he ate. In the cold nights, she hoped they would sit together close to the fire, but he preferred the darkness, far from the flames. The ugly girl got in the habit of calling across the room all the things she had to say to him. As winter turned to spring, and rain pelted down, the wicker husband became a little mouldy, and the ugly girl had to scrub him down with a brush and a bottle of vinegar. Spring turned to summer, and June was very dry. The wicker husband complained of stiffness in his joints, and spent the hottest hour of the day lying in the stream. The ugly girl took her fish-gutting, and sat on the bank, keeping him company.
Eventually the villagers were too ridden with curiosity to stand it any longer. There was a wedding in the village: the ugly girl and her husband were invited. At the wedding, there was music and dancing, and food and wine. As the musicians struck up, the wicker husband and the ugly girl went to dance. The villagers could not help staring: the wicker husband moved so fine. He lifted his dumpy wife like she was nought but a feather, and swung her round and round. He swayed and shimmered; he was elegant, he was graceful. As for the ugly girl: she was in heaven.
The women began to whisper behind their hands. Now, the blacksmith's wife was boldest, and she resolved to ask the wicker husband to dance. When the music paused she went towards the couple. The ugly girl was sitting in the wicker husband's lap, so he creaked a little. The blacksmith's wife was about to tap the wicker husband on the shoulder, but his arms were wrapped round the ugly girl.
< 5 >
'You are the only reason that I live and breathe,' the wicker husband said to his wife.
The blacksmith's wife heard what he said, and went off, sulking. The next day there were many frayed tempers in the village.
'You've got two left feet!' shouted the shoe-maker's wife at her husband.
'You never tell me anything nice!' yelled the blacksmith's wife.
'All you do is look at other women!' shouted the baker's wife, though how she knew was a mystery, as she'd done nothing but stare at the wicker husband all night. The husbands fled their homes and congregated in the tavern.
'T'aint right,' they muttered, 'T'isn't natural.'
'E's showing us up.'
'Painting doors.'
'Fixing thatch.'
'Murmuring sweet nothings.'
'Dancing!' muttered the blacksmith, and they all spat.
'He's not really a man,' muttered the baker. 'An abomination!'
'He don't eat.'
'He don't grumble.'
'He don't even fart,' added the tailor, gloomily.
The men shook their heads, and agreed that it couldn't go on.
Meanwhile the women congregated in each other's kitchens.
'It's not right,' they muttered. 'Why does she deserve him?'
'It's an enchantment,' they whispered. 'She bewitched him.'
'She'll be onto our husbands next, I expect,' said the baker's wife. 'We should be careful.'
'She needs to be brought down a peg or two.'
'Fancies that she's better than the rest of us, I reckon.'
'Flowers in her hair!!'
< 6 >
'Did you see her dancing?'
And they all agreed that it couldn't go on.
One day the wicker husband was on his way back from checking the fish-traps, when he was accosted by the baker.
'Hello,' said the baker. The wicker husband was a little surprised: the baker never bothered to speak to him. 'You made an impression the other night.'
'I did?' said the wicker husband.
'Oh yes,' continued the baker. 'The women are all aflutter. Don't you ever think - well...'
'What?' said the wicker husband, completely confused.
'Man like you,' said the baker. 'Could do well for himself. A lot of opportunities...' He leaned forward, so the wicker husband recoiled. The baker's breath smelt of dough, which he found unpleasant. 'Butcher's wife,' added the baker meaningfully. 'Very taken. I know for a fact that he's not at home. Gone to visit his brother in the city. Why don't you go round?'
'I can't,' said the wicker husband. 'My wife's waiting for me at home.' And he strode off, up the lane. The baker went home, annoyed.
Now the wicker husband, who was too trusting, thought less of this of this than he should, and did not warn his wife that trouble was brewing. About a week later, the ugly girl was picking berries in the hedgerow, when the tailor's wife sidled up. Her own basket was empty, which made the ugly girl suspicious.
'My dear!' cried the tailor's wife, fluttering her hands.
'What d'you want?' said the ugly girl.
The tailor's wife wiped away a fake tear, and looked in both directions. 'My dear,' she whispered. 'I'm only here to warn you. Your husband - he's been seen with other women.'
'What other women?' said the ugly girl.
< 7 >
The tailor's wife fluttered her hands. This wasn't going as she intended. 'My dear, you can't trust men. They're all the same. And you can't expect - a man like him, and a woman like you - frankly -'
The ugly girl was so angry that she hit the tailor's wife with her basket, and ran off, up the lane. The ugly girl went home, and - knowing more of cruelty than her husband did - thought on this too much and too long. But she did not want to upset her husband, so she said nothing.
The tailor's wife came home fuming, with scratches all over her face. That night, the wives and husbands of the village all agreed - for once - that something drastic had to be done.
A few days later the old basket-maker heard a knocking at his door. When he opened it, the villagers stood outside. Right on cue, the tailor's wife began to weep, pitifully.
'What's the matter?' said the old basket-maker.
'She's childless,' said the baker's wife, sniffing.
'Not a son,' said the tailor, sadly.
'Or a daughter.'
'No-one to comfort them in their old age,' added the butcher.
'It's breaking their hearts,' went on the baker.
'So we've come to ask -'
'If you'll make us a baby. Out of wicker.'
And they held out a bag of gold.
'Very well,' said the old basket-maker. 'Come back in a month.'
Well, one dusky day in autumn, the ugly girl was sitting by the fire, when there came a knock at the door. The wicker husband opened it. Outside, stood the villagers. The tailor's wife bore a bundle in her arms, and the bundle began to whimper.
< 8 >
'What's that?' said the ugly girl.
'This is all your fault,' hissed the butcher, pointing at the wicker husband.
'Look what you've done!' shouted the baker.
'It's an abomination,' sneered the inn-keeper. 'Not even human!'
The tailor pulled away the blanket. The ugly girl saw that the baby was made of wicker. It had the same shaped nose, the same green eyes that her husband did.
'Tell me it's not true!' she cried.
But the wicker husband said nothing. He just stared at the baby. He had never seen one of his own kind before, and now - his heart filled up with tenderness. When the ugly girl saw this on his face, a great cloud of bitterness came upon her. She sank to the floor, moaning.
'Filthy, foul, creature!' cried the tailor. 'I should burn it!' He seized the baby, and made to fling it into the blaze. At this, the wicker husband let out a yell. Forward he leapt.
The ugly girl let out a terrible cry. She took the lamp, and flung it straight at her husband. The lamp burst in shards of glass. Oil went everywhere. Flames began to lick at the wicker husband's chest, up his neck, into his face. He tried to beat at the flames, but his fingers grew oily, and burst into fire. Out he ran, shrieking, and plunged into the river.
'Well, that worked well,' said the butcher, in a satisfied manner.
The villagers did not spare a second glance for the ugly girl, but went home again to their dinners. On the way, the tailor's wife threw the wicker baby in the ditch. She stamped on its face. 'Ugh,' she said. 'Horrible thing.'
The next day the ugly girl wandered the highways, weeping, her face smeared in ashes.
< 9 >
'Have you seen my husband?' she asked passing travellers, but they saw madness in her eyes, and spurred their horses on. Dusk fell. Stumbling home, scarce knowing where she was, the ugly girl heard a sound in the ditch. Kneeling, she found the wicker baby. It wailed and thrashed, and held up its hands. The ugly girl saw in its face her husband's eyes, and her husband's nose. She coddled it to her chest and took it home.
Now, the old basket maker knew nothing of all this. One day, the old man took it into his head to see how his creations were faring. He walked into town, and knocked on the tailor's door. The wife answered.
'How is the baby?' he said.
'Oh that,' she said. 'It died.' And she shut the door in his face. The old basket-maker walked on, till he came to the ugly girl's place. The door was closed, the garden untended, and dirt smeared the windows. The old basket-maker knocked on the door. No-one answered, though he waited a very long time.
The old-basket maker went home, disheartened. He was walking the long dark road into the swamp, when he heard something in the rushes. At first he was afraid: he wrapped his scarf closer round his face. But the thing seemed to follow him. From time to time, it groaned.
'Who's there?' called the old man.
Out onto the roadway staggered the most broken and bedraggled, the most pathetic and pitiful thing. The old basket-maker stared at what was left of the wicker husband: his hands consumed by fire, his face equally gone. Dark pits of scorched wood marred his chest. Where he had burnt, he had started to rot.
'What have they done to my children?' cried the old basket-maker.
The wicker husband said nothing: he had lost his tongue.
The old basket-maker took the wicker husband home. As daylight came, the old basket-maker sat down to repair him. But as he worked, his heart grew hot with anger.
< 10 >
'I made you, but I failed you,' he said. 'I will not send you there again.'
Eventually, the wicker husband looked as good as new, though the smell of burning still clung. But as the days passed, a damp black mould began to grow on him. The old basket-maker pulled out the rotting withies and replaced them. But it seemed useless: the wicker husband rotted from the inside, outwards.
At last, the old basket-maker saw there was nothing else to be done. He took up his travelling cloak, set out at night, and passed through the village. He came to the ugly girl's house. In the garden, wreathed in filth, stood the ugly girl, cuddling a child. She was singing the saddest lullaby he had ever heard. The old basket-maker saw that the child was the one he'd made, and his heart softened a little. He stepped out of the shadows.
'Why do you keep the baby,' he said, 'when you cast your husband from home?'
The ugly girl cried out, to hear someone speak to her.
'It is all I have left of my husband,' she said at last. 'Though it is proof he betrayed me, I could not leave it in the ditch to die.'
'You are a fool,' he said. 'It was I that made the child. Your husband is innocent.'
At this, the ugly girl let out a cry, and ran towards the river. But old basket-maker caught her arm. 'Wait - I have something to show you,' he said.
The ugly girl walked behind him, through the swamp where the water sucked and burbled, carrying the baby. As the sun rose, she saw that its features were only those of the old basket-maker, who, like any maker, had passed down his face to his creations.
When they came to the dwelling, the ugly girl opened the door, and saw her husband, sitting in darkness.
< 11 >
'It cannot be you,' she said. 'You are dead. I know: I killed you myself.'
'I was made for you alone,' said the wicker husband, 'But you threw me away.'
The ugly girl let out a cry so loud, birds surfaced from the marches for miles around, and threw herself at her husband's feet.
A few days later, the villagers were surprised to see the old basket-maker standing outside the church.
'I have something to say,' he said. 'Soon I will retire. But first, I am making my masterwork - a woman made of wicker. If you want her, you can have her. But you must bring me a gift for my retirement. Whoever brings me the best gift can have the wicker woman.'
Then he turned round and went back to the swamp.
Behind him, the villagers began to whisper. Hadn't the wicker husband been tall and graceful? Hadn't he been a hard worker? Hadn't he been handsome, and eager to please his wife?
Next day, the entire village denied any interest in the wicker lady, but secretly began to plan. Men eyed up prize cows; women sneaked open jewellery boxes.
'That wicker husband worked like a slave, and never even ate,' said the shoe-maker's wife to her husband. 'Get me the wicker woman as a servant, I'll live like a lady, never lift a finger.'
'That wicker husband never quarrelled with anyone, never even raised his voice. Not like you, you old fishwife,' the inn-keeper said to his wife.
'That wicker husband never tired, and never had a headache,' said the butcher to the baker. 'Imagine...!'
'Lend me a shilling, cousin,' said the shoe-maker's wife. 'I need a new petticoat.'
'I can't,' lied the blacksmith's wife. 'I spent it on medicine. The child was very sick.'
< 12 >
'I need that back-rent you owe me,' said the butcher, who owned the tailor's house.
'Been a very bad season in the tailoring trade,' muttered the tailor. 'You'll get it soon.'
The butcher went into town, hired a lawyer, and got the tailor evicted from his house. The tailor and his wife had to go and live in the shoe-maker's shed.
'But what are you going to do with the empty house?' asked the butcher's wife.
'Nothing,' said the butcher, who thought the place would do admirably to keep a mistress. The butcher's wife and the tailor's wife had a fight in the market, and went home with black eyes. In the tavern, no-one spoke, but only eyed each other, suspiciously. The lawyer was still in town. Rumour had it that the tailor's wife was suing for divorce: the inn-keeper's wife had her husband arrested after she found the stairs had been greased. In short, the fields went uncut, the cows went unmilked, ovens uncleaned: the village was obsessed.
When the day came, the old basket-maker came to town, and sat on the churchyard wall. The villagers brought their gifts. First the tailor, who'd made a luxurious coat. Next the miller, bringing twelve sacks of grain. The baker made the most extravagant cake; the carpenter brought a table and chairs, the carter a good strong horse. The blacksmith's wife staggered up with a cheese the size of a millwheel. Her cousin, the tailor's wife, arrived with a bag of gold.
'Where d'you get that, wife?' said her husband, amazed.
'Never you mind,' she snapped.
The inn-keeper's wife wasn't there: she'd slipped while climbing the stairs.
Last to come was the butcher. He'd really outdone the others: two oxen, four cows, and a dozen sheep.
The old-basket maker looked around him. 'Well,' he said. 'I think the prize goes to... the butcher. I'll just take these and be back, with the wicker lady.'
< 13 >
The butcher was so pleased, spittle ran from his mouth.
'Can I have my grain back?' said the miller.
'No no,' said the old man. 'That wasn't the bargain.' And he began to load all the goods onto the horse. The villagers would have fallen on each other, fighting, but they were so desperate to see the wicker lady, they just stood there, to wait.
It was dusk by the time the basket-maker returned. The wicker woman was seated on the horse, shrouded in a cloak, veiled like a bride. From under the cloak, white flowers fell. As she passed the villagers, a most marvellous smell drifted down.
The butcher stood outside the tailor's old house. He'd locked his wife in the coal cellar in preparation.
The old basket-maker held out a hand, and helped the lady dismount. The butcher smelt her fragrance. From under the veil, he thought he saw her give him a saucy glance. He was so excited, he hopped from foot to foot.
The wicker lady lifted her veil: she took off her cloak. The butcher stared at her. The wicker lady was short of stature and twisted of limb, her face was dark and rough. But worse than that - from head to foot, she was covered in thorns.
'What have you done?' shrieked the butcher.
'Ah,' said the old basket-maker. 'The wicker husband was made of willow. Willow is the kindest of trees: tall, elegant, pliable, of much assistance in easing pain. But I saw that you did not like him. Therefore I made you the wicker lady from blackthorn. Blackthorn is cold, hard, and thorny - it will not be killed, either by fire or frost.'
The villagers would have fallen on the old basket-maker there and then, had not the wicker lady stepped forward. She seized hold of the butcher and reached up to kiss him. The butcher let out a howl. When he pulled his lips away, they were shredded and tattered: blood ran down his chin. Then, with a bang, the butcher's wife broke out of the coal cellar, and ran down the road. Seeing the wicker lady kissing her husband, she screamed, and fell on her. The two of them rolled in the gutter, howling and scratching.
< 14 >
Just then, the lawyer piped up. 'Didn't you check the details first?' he said. 'It's very important. You should always check the small print.'
The men of the village took their butcher's knives and pitchforks and tailoring shears, and chased the lawyer out of town. When they'd run out of breath, they stopped.
'That old fraud the basket-maker,' said the baker. 'He tricked us.'
So they turned round and began to go back in the other direction, on the road into the swamp. In the darkness they stumbled and squelched, lost their way and nearly drowned. It was light by the time they came to the old basket-maker's dwelling, but the old basket-maker, the wicker husband, the ugly girl and the baby, as well as all the villagers' goods, had already upped, and gone.
nusrat-diu:
Esther Claes
The Star
When the world started to end, you were ashamed of yourself for weeping bitterly in your bedroom for an entire day. You saw the president crying and begging on TV and it sent you into a panic. You lay in bed with the blankets pulled up to your nose, crying, refusing to answer the door when the maid, your manager, your assistant, and finally your parents begged you to come out.
After twenty-four hours, your father took the door off its hinges and dragged you down the stairs into your sunken living room with the white carpet and leather couches. You kicked and screamed until he had to pick you up and carry you over his shoulder. You called him a motherer and threatened to take back the Mercedes you'd purchased for him last Christmas.
Your mother sat solemnly on the couch, her hands clenched into fists on top of the newspaper in her lap. She said it was all over.
You glowered and glared; you asked what the hell is happening, and will you still be on the talk show circuit next month?
The television stations are all color bars and static. Your father says that the talk shows are all gone, and not to worry. He tells you that there are far more important things happening right now. How can you not worry? You were supposed to debut your new fragrance next month to coincide with the release of your latest album.
Your mother tells you that the album isn't going to happen, and she clenches her fists even tighter than before. You can't believe what she's saying. How can she say that? There will always be an album, and there will always be television. You tell your parents they're idiots, and that this will all blow over in a few days, as soon as they replace that pussy of a president.
Your mother says that the world is ending. They dropped bombs, she says darkly.
There are diseases and radiation poisoning spreading all over the country, your father says.
< 2 >
Not in LA you shout defiantly.
Your mother holds up the newspapers one at a time. WAR is on the cover of each one, along with speculations on the doomed fate of the country, including LA. You feel sick, you're dizzy. You want to know what you did to deserve this, and how anyone could possibly do such a thing before you had a chance to accomplish the things that mean so much to you.
*
Two days later, your mother and father are discussing survival, and filling jugs with water from the tap just in case. Your father is worried about the electricity holding out. You sit in the living room wondering why all the servants quit the day before, and if your assistant is ever going to call you back. The only connection to the outside world is the radio, and it's hard to get real information between the crying and praying on almost every channel. On the pop station, the dj says over and over that it's only a matter of time. Your father tells you to switch to the AM band because they have more sense on AM, goddammit.
You hear reports of death and destruction all over the country, and all you can think is that you hope LA is okay. Even after reports of people dead in their cars, you imagine Rodeo Drive the same as it ever was, untouched by nasty things like war, sickness and death. How could a place a beautiful as Hollywood ever be destroyed? No one messes with LA, you say, and your father won't look you in the eye.
When the electricity goes out that night, your eyes fill with frustrated tears, and you light the scented candles you'd been saving for a special occasion. The radio runs on batteries, but they won't last long. Your father tells you to conserve them, and stop leaving the radio on so much. You tell him to shut up, and that you can afford thousands of batteries. The man on the radio says that much of the east coast is destroyed, along with Detroit and Chicago. He says that the radiation is coming west at an alarming rate, and you wish you had a map so you'd know what that meant. Instead of worrying, you get out that limited edition pink nail polish and give yourself a pedicure. It isn't until you spill the bottle, and nail polish gets all over the carpet that you realize you can't stop crying.
< 3 >
In the morning, your dad tells you that your mother is very sick, and he doesn't feel so well himself. You roll your eyes and tell them to take some pepto, but on the inside, you can't deal with the possibility of them dying and leaving you alone, so you go back to your room and sit in front of the window. Your yard looks the same. There is no death and destruction on your property, but you wonder what's changed outside of your front gates.
In the afternoon, you bring your four gold records and three Grammy awards up to your room so you can look at them. Your finger traces your name on the awards over and over, and you can't comprehend how someone who has accomplished so much in such a short time should be allowed to go through something as horrible as this. You're a star, for God's sake, you deserve better than this.
Your father is calling your name in the hall. He sounds sick. His voice breaks repeatedly, and he's gagging between words. You don't want him to throw up on the carpet in the hall, but you keep your mouth shut. If he does, the cleaning woman will take care of it tomorrow. You pull the blankets up to your chin and close your eyes. Your father's voice sounds farther and farther away now as you clutch the Grammy close to your chest and squeeze your eyes shut.
Tomorrow you'll wake up and things will be better. Tomorrow you'll be on the Tonight Show, and be as charming as ever. Tomorrow your agent will apologize for not calling. Tomorrow you'll still be a star.
nusrat-diu:
Simon Collings
Do You Speak English?
Manuel had passed the fish on his way up the road. It was eighteen to twenty inches long and its silvery scales were covered with dirt. The gill flaps opened like two gash wounds on the sides of its head as it thrashed helplessly in the gutter. Next to it a boy leaned against the railings, his rod and line dangling out over the floating garbage and the stream of brown, stinking waste which trickled from a pipe in the wall below. The boy wore a faded pair of football shorts. He was perhaps nine or ten years old, barefoot and grubby, and his skin was marked with insect bites.
The fish gasped, then made one last convulsive leap, throwing itself in the direction of the river, and landed on the pavement with a thud. There it lay motionless for a moment, exhausted no doubt by the effort. The boy looked down at it, turned and kicked it back into the gutter.
Manuel had not paid much attention to the fish as he was preoccupied. He had just been to look at an apartment and he was considering how he could afford the rent. Accommodation was hard to find in the city and a place like this didn't come up very often. The apartment he and his wife were currently living in was so small their six-year-old son had to live with his wife's parents during the week. They had been trying to move for two years. He took out a cigarette and leaned against the railing, looking down the street at the boy fishing.
Further along the quay two figures were approaching. He watched as they wandered slowly towards him. They looked to be in their early thirties and were obviously tourists, Americans he would guess. The woman had shoulder-length reddish hair and pale freckled skin. She was slim and athletic looking. Her partner was tall and flabby, his stomach protruding from under his T-shirt. He wore knee-length shorts, sunglasses and his long hair was tied in a pony tail. They came slowly along the dusty street of warehouses. Tourists were not uncommon in the city but they usually kept to the old port with its rococo churches and stately customs house, or took the organized cruises along the reef. It was rare to see them in this district and Manuel assumed they were lost.
< 2 >
‘Look at the poor thing,' said the woman, stopping beside the fish, which lay where the boy had kicked it, probably now gasping its last breaths. She spoke with a lazy, nasal drawl. The boy had not turned around but he had noticed their presence. He stared fixedly across the glittering surface of the water towards the lines of washing in the narrow streets on the opposite bank, waiting for them to go.
‘It ought to be thrown back,' the woman was saying. ‘Do you think he wants it?' She turned to her companion who shrugged. He looked nervous.
‘I don't like the look of this neighborhood,' he said. ‘I think we should get back.' But the woman wasn't going to let it pass. She stood there looking from the fish to the boy and back again.
‘You could try asking him,' the man said. The woman stepped around the fish and approached the boy, who was still looking out across the river. The child's body tensed as the woman came up to him.
‘Do you know that fish is dying?' Manuel heard her ask. The boy looked up at her blankly and then shook his head. ‘Dy-ing,' she repeated, drawing out each syllable, but the boy remained dumb, uncomprehending. He fidgeted awkwardly with his feet.
‘I don't think he understands,' said the woman to her partner. The man shrugged as if to say ‘I told you we shouldn't get involved'. She looked around for assistance and noticed Manuel watching her. She stared at him for a moment, taking in the cream-coloured linen suit, the shoes. She was obviously unsure what to make of him.
‘Do you speak English?' she asked, this time with a more respectful tone than she had used with the boy. Manuel said that he did but in a voice which gave her no reason to expect his help. She held his gaze for a few moments.
‘Can you ask this boy what he means to do with the fish? It seems so cruel, it ought to be thrown back.' He looked across at the boy and then at the woman. He wondered if he should tell her about the kind of life this boy led, about the squalid shacks down by the beach from where he had probably come that morning, about the parents struggling to make ends meet. Two days earlier he had read in the local paper about a fishing community a few miles up the coast which was being evicted to make way for a new hotel. The boy was watching them anxiously.
< 3 >
‘Esta senhora quer saber o que voce vai fazer com o peixe,' he said to the boy. He treated the boy gently, with consideration. The boy wiped a dirty hand across one eye and looked at Manuel.
‘E para vender,' he responded.
‘He intends to sell it,' he told the woman. He tried to make his answer sound final, as though that was the end of the matter. The woman hesitated, perhaps uncertain how to interpret the lack of encouragement in his voice. Manuel observed her confusion. Her eyes searched his face as though looking for some clue. Her companion shifted nervously behind her.
‘Honey, I think we should go,' he said. But the woman ignored him. He shuffled uncomfortably. ‘You know I really don't think you should interfere.'
‘How much does the boy want for the fish?' the woman asked. Manuel glanced at her companion with his stooped shoulders and useless bulk. The woman's determination amused him but he did not smile.
‘A senhora quer comprar o peixe. Quanto e?' The boy named a price which was five times what he would have got for it locally. His expression was deadpan. Only a slight clenching of his right hand betrayed the tension he was probably feeling. Manuel told her the price, adopting the same tone of voice with which he had addressed her previously, but this time he could not help smiling. She seemed to interpret this as friendliness. She opened her purse and took out some money, peeling off a note of twice the value the boy had asked.
‘Does he have any change?' she asked.
Manuel translated. Again the boy's right hand twitched slightly but otherwise his face wore the same expression of innocence it had before. He shook his head. The woman hesitated for a moment and looked across at the fish. Then she held out the note to the boy who took it. She stooped down, picked the fish up carefully between forefinger and thumb and threw it into the river. Without looking at either Manuel or the boy she turned to her companion and they went on up the road together. The man produced a handkerchief and offered it to the woman to wipe her fingers but she refused it. They appeared to be arguing. The boy stood holding the note. His expression had hardly changed. Manuel watched the couple until they disappeared out of sight. They did not once look back. He lit another cigarette and returned to his former position against the railings.
< 4 >
The fish had not survived its lengthy time out of the water and was now floating amidst the debris a few feet out from the bank, washed in against the shore by the backward eddy of the current. The boy climbed over the railings and down onto a ledge just above the water line. He began dragging the dead fish towards him with a stick. When it was finally within reach he caught hold of it and tossed it up onto the road. As he clambered over the railings he grinned at Manuel. The boy gathered up his rod and the fish and set off up the street. Manuel watched him while he finished his cigarette. Then he threw the butt down into the dirty water and made his way back the way he had come.
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