Harvest A Novel (14 page)

So our afternoon progresses cozily, drawn on by the prospect of our owlish rendezvous tonight. There is a touch of winter in the room, not in its chill but in its busyness—and that is comforting. What I will miss the most, now that Cecily is gone, now that I myself am tempted to depart, are those still and icy, cloud-weighted times in the dead season, when, if I were fool enough to step outside my cottage into the cold and moonless dark, all I could expect to see would be the ducking of my neighbors’ candle flames and all that I could expect to hear, other than the cracking of the frost beneath my feet, would be the industry of far-from-summer tools. This is for us the mending time and the fixing season: boys carve their spoons from yew or plug the leaks in mugs and jugs; their dads replace the handles on their scythes and sickles, or fashion willow tines to renew the teeth in forks and rakes; their wives and daughters make new clothes or darn the old. Every home is embering before its fires in concentrated silence, and getting ready for the coming year.

And in our house, my wife and I set to work on the reeds and withies I gathered in the autumn, making trays and baskets for anyone that asked and could provide us with a ham, let’s say, or a honey pot by way of exchange. Such evenings were our most tender and consoling, no matter that the spring was far away and all we had to eat was barley bannock bread and broth, every day a Friday with no meat. So here, in Mr. Quill’s attentive company, I hear those busy sounds again. So long as I do not look up across the scullery, I am lost in lost and happy times.

For a while, the encounters and discoveries of this morning are almost forgotten in the engrossments of our work. Our talk is soft and intimate. Mr. Quill has the grace to show an interest in my story. Here is my chance to say how, now that Cecily is dead, I am eager for
a change. A change and an adventure. “And not one that involves a single day of shepherding,” I add. “Though making vellum is a pleasing craft.” He nods while I am speaking. He takes my meaning, I believe. His nodding gives me reason to suppose he will discuss the matter with his host. “And you, sir?” I ask Mr. Quill. “Are there adventures calling you?”

His story is a shorter one. He has never been in love. He has no wife to widow him, and both his parents are deceased. His eldest brother has their property: the family home, a warehouse and a riverboat for trade and carriage of anything from fish to cloth. But Mr. Quill is not a wealthy man, he says, “not in possessions, not in my body … as you see. This left side is wooden from the shoulder to the ribs. A sudden palsy. Something in the bones. When I was a child.”

“So not an accident?” I mean to ask him if he was struck by lightning or injured by a bucking horse, as I overheard him say to Master Jordan last afternoon.

“That was my schoolroom jest, my regular defense against …” he starts to say, but shakes his head. He evidently does not want to mention lightning again. “No matter, though. I have been raised to understand I am unfit to work out of doors and too great an encumbrance to be employed within. I cannot help my brother in his warehouse or his boat. What use am I? In such a clumsy state, I cannot even find myself a wife. I take my happiness from this …” He indicates the paints and sketches on his desk. “Step forward, Walter. See how my colors have ennobled all my marks.”

While I’ve been working vellum from the skin, Mr. Quill has turned his scratchy charts and drawings into something odd and beautiful. There is no lettering as yet. Just shapes and lines and coloring. I recognize their intrigue and their sorcery. I’ve seen equally compound patterns, no less ineffable than these, when I’ve peeled back bark on dying trees, or torn away the papering on birches. I’ve
seen them sketched by lichens on a standing stone, or designed by mosses in a quag, or lurking on the underwing of butterflies. I’ve found these ordinary abstracts in the least expected places hereabouts: I have only to lift a stone, or turn some fallen timber in the wood, or reverse a leaf. The structures and the ornaments revealed are made purposeful simply by being found. But none of these compare for patterned vividness with Mr. Quill’s designs. His endeavors are tidier and more wildly colorful—they’re certainly more blue—than anything that nature can provide. They’re rewarding in themselves. They are more pleasing than a barleycorn. “This one,” he says, “is, here and now, my true account. It’s what you have before Edmund Jordan the Younger brings in his improvements—”

“King Edmund the Second!” I suggest.

“Yes, let the man be crowned as that.”

Can I identify the barley field, Mr. Quill wants to know. I look again, hoping for some clues, from the charcoal-dark lines, perhaps, or from where the paint has crusted heaviest, or where it’s thinned and tonsured on the bubbles of the paper. It is not until he turns his painting through two quarters that I think I recognize the twists and fall of the field, the low redundant parts where barley grows on hostile soil, the sweeping upper wings where cropping is the best, the darker shading of the baulks, the snaking signature of what must be our snaking stream.

“Exactly so,” says Mr. Quill, when I indicate my answer with a finger, lifting a smudge of paint as I do so. “And here I’ve plaited in your boundary line.”

Now I can see the boggy path and Turd and Turf, not yet identified as the Blossom Marsh. There’s our top end. And there’s our deep and tall and goodly wood. Our fortress walls of thorn and scrub. Our unbuilt church. Our commons and our cottages. Our onetime safe and kindly realm.

I look again but squintingly, and not at the particulars. I’ve never before had a true sense of how our estate is shaped, how stars might shine on us, or what those hawks and kestrels see. It has been too many years for memory since I last observed our land from any greater distance than our clover hill—that first day, in fact, twelve years ago, when I arrived with Master Kent and saw, far off, from the pale green of the higher downs, the true green bowl—no,
valley
’s not the word—of this isolated place nesting, hidden, in those blank spaces between far rivers, nameless and beyond. But otherwise I’ve put no shape to it. Now I know the village is a profile of a brawny-headed man—a bust, in fact. His neck and shoulders are our pasturelands. Our cattle and our goats are feeding there. The four great fields make up his face. His ear—our pond—is small enough to be a child’s. He almost has a nose, where I suppose that little clovered hillock is. The forests are his hair.

It is an odd experience, unnerving in its way, to look down on our woods, our commons and our fields at once, to see them side by side, or separated only by the thickness of my thumb, when I have never seen them on the ground with such adjacency. Here the sap-green-painted fallow is seemingly attached by the madly dark blue stitching of a ridgetop copse to the gray-cum-yellow stubble of our barley field. They look like neighbors, exchanging glances through the trees. I’ve walked that thickness-of-my-thumb a thousand times. It’s easy going till you reach the ridge. The fallow field has a subtle slope, so it drains well but keeps its soil. There’s seldom any mud. But there are pebble-stones to set your feet against. You have to take the cow track at the ridge and go downhill a little with the copse thickening on your right until you find another rise, and there an open gap which lets you pass along a lane of thorns into the field where now, this afternoon, you’ll find our cattle gleaning grain. This is the point, at the brimming of the trees, where neither field can be seen. You’re too closed in. Indeed,
there’s nowhere on the walk—which takes a little while and some exertion—where both the fallow and the barley field can be looked upon at once. You’d have to climb a tree for that. Or be a bird.

So Mr. Quill’s true account of here and now is not as honest as he hopes. He’s colored and he’s flattened us. No shadows and no shade. We are too mauve and blue; he’s planted longpurples everywhere. There are no climbs or slopes. The land is effortless: a lie. He hasn’t captured time: how long a walk might take; how long a piece of work might take; how long the seasons or the nights must last. No man has ever seen this view. But it is beautiful, nevertheless. And so, come to that, although it’s hard to acknowledge it, is Mr. Quill’s map of the sheep fields that are looming over us. This chart is even busier with color, and more patterned to the eye. Its patchwork is much tidier. The fields are smaller, broken up and edged. The dark of the wood, with its clustered symbols showing trees, has almost disappeared. I cannot find an eye or ear. The brawny-headed man has lost his face.

“What do you make of these?” asks Mr. Quill. I take his question as a test. I do not want to say his paintings aren’t as honest as he thinks. But it isn’t hard for me to praise them fulsomely for what they are as pretty things, a kind of vision of the world—our little world, in fact—that I have never seen before and which has left me moved and oddly breathless. With his help these colored papers, unmarked as yet with any names or guides, make sense to me at last. They complicate to simplify. I have translated them. I can tell you where we are on them. I could stub my finger on the spot where I am standing now. But still I’m left to wonder where we’ll be on them in days and years to come. And so my breathlessness. There’s something in these shapes and lines, in these casual, undirected blues and greens, that, for all their liveliness, seems desolate.

9

ITTLE LIZZIE CARR AND HER GREEN SASH
are in Master Jordan’s custody tonight, as is (or so the rumor has it for the moment—Mr. Quill and I have yet to see the living evidence) the widow Gosse,
my
Kitty Gosse, together with Anne Rogers, her best friend. We need to organize ourselves, of course. This is the moment when our wildest hotheads should raise their sickles and their sticks. But John Carr thinks the hottest heads have already packed their bags and gone. Certainly, Brooker Higgs has not been seen since dusk. And the Derby twins were spotted heading off toward our top end and the setting sun, bundles roped across their backs and walking faster than they’ve ever walked before; their mother looks as gray and blank as pewter, and only shakes her head when questioned. Three of our sons are vagabonds, untethered strays, who clearly feel it’s safer to be anywhere but here. That has never happened to our sons before.

Whose version of events should I believe? The loudest voices that I overhear are decided—as am I, reluctantly—that the shaven, black-haired woman is behind it all. A dozen different stories hold Mistress Beldam responsible for all the disarrangement of their cottages—and
then for every odor that’s not pleasing, for every jug of curdled milk, for every darkening of cloud. And she will take the blame, I know, for driving sheep into our fields. Everything’s uncertain and unhinged because of her. She’s brought a curse onto our land, she’s blighted us. My neighbors say she’ll not be satisfied until we’re all dragged off to rot away with Willowjack. When the threshing barn was inspected at midday, they told the “new gentleman’s” serving men as much, and that the bloody velvet shawl claimed by Master Kent to be his wife’s was not his wife’s at all but the property of this fierce, alluring woman. But no one listens to them anymore, they now complain. No one’s been hunting for “the sorceress” despite their warnings. Those men are picking only on the innocent, on local women and a girl.

What’s certain, according to these flapping tongues, is that while I was on my knees this afternoon making pauper’s vellum from the calf, Lizzie Carr, still very much the Gleaning Queen in her green cloth and bored with sorting barley, slipped out of the threshing barn, hoping to renew the yellow blossoms she’d been wearing since her crowning. She was bound to be noticed by Edmund Jordan’s men. And they were bound to challenge her. This girl, bedecked beyond her station in a valuable cloth and mustardy with flowers, like a fairy child, was far too young and tame to fit the description of the savage woman they’d only recently been informed about by the less wary of my neighbors and whom the sidemen were now very keen to meet. But she was baffling. And her clothing was suspicious. The men supposed that all expensive cloth—Lizzie Carr’s green sash, that woman’s bloody velvet shawl—must provide some necessary clue in their pursuit of Willowjack’s killer. The meaning of those shawls and sashes, not to mention Master Jordan’s too easygoing cousin’s lies, would reveal itself in time no doubt, and after thorough questioning, beginning with this mystifying child.

As I imagine it, the men will have held Lizzie Carr by her irresistible
plaits—like her uncles will have done a thousand times before, like I have done myself. They would have been more playful than spiteful, at first, and meant only to prevent her skipping off. Why was she in the lane at all, they’d want to know. Hadn’t she been instructed quite clearly by Master Jordan that nobody must stray today beyond the barn? And, more to the point, how was it that a common little girl like her was sporting such a fine and pretty dressing on her head? When she told the truth, that Master Kent had given it to her, and that she was the Queen for one whole year, they were bound to doubt her word, tighten their great hands round her willow arm, and march her off to answer more practiced and judicial questions in Master Jordan’s presence.