Light in August (44 page)

Sitting in the dark window he seems to see them   
Now they are gathering, entering the door. They are nearly all there now
   And then he begins to say, “Now. Now” leaning a little forward; and then, as though it had waited for his signal, the music begins. The organ strains come rich and resonant through the summer night, blended, sonorous, with that quality of abjectness and sublimation, as if the freed voices themselves were assuming the shapes and attitudes of crucifixions, ecstatic, solemn, and profound in gathering volume. Yet even then the music has still a quality stern and implacable, deliberate and without passion so much as immolation, pleading, asking, for not love, not life, forbidding it to others, demanding in sonorous tones death as though death were the boon, like all Protestant music. It was as though they who accepted it and raised voices to praise it within praise, having been made what they were by that which the music praised and symbolised, they took revenge upon that which made them so by means of the praise itself. Listening, he seems to hear within it the apotheosis of his own history, his own land, his own environed blood: that people from which
he sprang and among whom he lives who can never take either pleasure or catastrophe or escape from either, without brawling over it. Pleasure, ecstasy, they cannot seem to bear: their escape from it is in violence, in drinking and fighting and praying; catastrophe too, the violence identical and apparently inescapable   
And so why should not their religion drive them to crucifixion of themselves and one another?
he thinks. It seems to him that he can hear within the music the declaration and dedication of that which they know that on the morrow they will have to do. It seems to him that the past week has rushed like a torrent and that the week to come, which will begin tomorrow, is the abyss, and that now on the brink of cataract the stream has raised a single blended and sonorous and austere cry, not for justification but as a dying salute before its own plunge, and not to any god but to the doomed man in the barred cell within hearing of them and of two other churches, and in whose crucifixion they too will raise a cross. ‘And they will do it gladly,’ he says, in the dark window. He feels his mouth and jaw muscles tauten with something premonitory, something more terrible than laughing even. ‘Since to pity him would be to admit selfdoubt and to hope for and need pity themselves. They will do it gladly, gladly. That’s why it is so terrible, terrible, terrible.’ Then, leaning forward, he sees three people approach and turn into the gate, in silhouette now against the street lamp, among the shadows. He has already recognised Byron and he looks at the two who follow him. A woman and a man he knows them to be, yet save for the skirt which one of them wears they are almost interchangeable: of a height, and of a width which is twice that of ordinary man or woman, like two
bears. He begins to laugh before he can prepare to stop it. ‘If Byron just had a handkerchief about his head, and earrings,’ he thinks, laughing and laughing, making no sound, trying to prepare to stop it in order to go to the door when Byron will knock.

Byron leads them into the study—a dumpy woman in a purple dress and a plume and carrying an umbrella, with a perfectly immobile face, and a man incredibly dirty and apparently incredibly old, with a tobaccostained goat’s beard and mad eyes. They enter not with diffidence, but with something puppetlike about them, as if they were operated by clumsy springwork. The woman appears to be the more assured, or at least the more conscious, of the two of them. It is as though, for all her frozen and mechanically moved inertia, she had come for some definite purpose or at least with some vague hope. But he sees at once that the man is in something like coma, as though oblivious and utterly indifferent to his whereabouts, and yet withal a quality latent and explosive, paradoxically rapt and alert at the same time.

“This is her,” Byron says quietly. “This is Mrs Hines.”

They stand there, motionless: the woman as though she had reached the end of a long journey and now among strange faces and surroundings waits, quiet, glacierlike, like something made of stone and painted, and the calm, rapt yet latently furious and dirty old man. It is as though neither of them had so much as looked at him, with curiosity or without. He indicates chairs. Byron guides the woman, who
lowers herself carefully, clutching the umbrella. The man sits at once. Hightower takes his chair beyond the desk. “What is it she wants to talk to me about?” he says.

The woman does not move. Apparently she has not heard. She is like someone who has performed an arduous journey on the strength of a promise and who now ceases completely and waits. “This is him,” Byron says. “This is Reverend Hightower. Tell him. Tell him what you want him to know.” She looks at Byron when he speaks, her face quite blank. If there is inarticulateness behind it, articulateness is nullified by the immobility of the face itself; if hope or yearning, neither hope nor yearning show. “Tell him,” Byron says. “Tell him why you came. What you came to Jefferson for.”

“It was because——” she says. Her voice is sudden and deep, almost harsh, though not loud. It is as though she had not expected to make so much noise when she spoke; she ceases in a sort of astonishment as though at the sound of her own voice, looking from one to the other of the two faces.

“Tell me,” Hightower says. “Try to tell me.”

“It’s because I…….” Again the voice ceases, dies harshly though still not raised, as though of its own astonishment. It is as if the three words were some automatic impediment which her voice cannot pass; they can almost watch her marshalling herself to go around them. “I aint never seen him when he could walk,” she says. “Not for thirty years I never saw him. Never once walking on his own feet and calling his own name——”

“Bitchery and abomination!” the man says suddenly. His voice is high, shrill, strong. “Bitchery and abomination!”
Then he ceases. Out of his immediate and dreamlike state he shouts the three words with outrageous and prophetlike suddenness, and that is all. Hightower looks at him, and then at Byron. Byron says quietly:

“He is their daughter’s child. He——” with a slight movement of the head he indicates the old man, who is now watching Hightower with his bright, mad glare “——he took it right after it was born and carried it away. She didn’t know what he did with it. She never even knew if it was still alive or not until——”

The old man interrupts again, with that startling suddenness. But he does not shout this time: his voice now is as calm and logical as Byron’s own. He talks clearly, just a little jerkily: “Yes. Old Doc Hines took him. God give old Doc Hines his chance and so old Doc Hines give God His chance too.
So out of the mouths of little children God used His will. The little children hollering Nigger! Nigger! at him in the hearing of God and man both, showing God’s will. And old Doc Hines said to God ‘But that aint enough. Them children call one another worse than nigger’ and God said ‘You wait and you watch, because I aint got the time to waste neither with this world’s sluttishness and bitchery.
I have put the mark on him and now I am going to put the knowledge. And I have set you there to watch and guard My will. It will be yours to tend to it and oversee’.” His voice ceases; his tone does not drop at all. His voice just stops, exactly like when the needle is lifted from a phonograph record by the hand of someone who is not listening to the record. Hightower looks from him to Byron, also almost glaring.

“What’s this? What’s this?” he says.

“I wanted to fix it so she could come and talk to you without him being along,” Byron says. “But there wasn’t anywhere to leave him. She says she has to watch him. He was trying down in Mottstown yesterday to get the folks worked up to lynch him, before he even knew what he had done.”

“Lynch him?” Hightower says. “Lynch his own grandson?”

“That’s what she says,” Byron says levelly. “She says that’s what he come up here for. And she had to come with him to keep him from doing it.”

The woman speaks again. Perhaps she has been listening. But there is no more expression on her face now than when she entered; woodenfaced, she speaks again in her dead voice, with almost the suddenness of the man. “For fifty years he has been like that. For more than fifty years, but for fifty years I have suffered it. Even before we were married, he was always fighting. On the very night that Milly was born, he was locked up in jail for fighting. That’s what I have bore and suffered. He said he had to fight because he is littler than most men and so folks would try to put on him. That was his vanity and his pride. But I told him it was because the devil was in him. And that some day the devil was going to come on him and him not know it until too late, and the devil was going to say ‘Eupheus Hines, I have come to collect my toll.’ That’s what I told him, the next day after Milly was born and me still too weak to raise my head, and him just out of jail again. I told him so: how right then God had given him a sign and a warning: that him being locked up in a jail on the very hour and minute of his daughter’s birth was the
Lord’s own token that heaven never thought him fitten to raise a daughter. A sign from God above that town (he was a brakeman then, on the railroad) was not doing him anything but harm. And he took it so himself then, because it was a sign, and we moved away from the town then and after a while he got to be foreman at the sawmill, doing well because he hadn’t begun then to take God’s name in vain and in pride to justify and excuse the devil that was in him. So when Lem Bush’s wagon passed that night coming home from the circus and never stopped to let Milly out and Eupheus come back into the house and flung the things out of the drawer until he come to the pistol, I said ‘Eupheus, it’s the devil. It’s not Milly’s safety that’s quicking you now’ and he said ‘Devil or no devil. Devil or no devil’ and he hit me with his hand and I laid across the bed and watched him——” She ceases. But hers is on a falling inflection, as if the machine had run down in midrecord. Again Hightower looks from her to Byron with that expression of glaring amazement.

“That’s how I heard it too,” Byron says. “It was hard for me to get it straight too, at first. They were living at a sawmill that he was foreman of, over in Arkansas. The gal was about eighteen then. One night a circus passed the mill, on the way to town. It was December and there had been a lot of rain, and one of the wagons broke through a bridge close to the mill and the men come to their house to wake him up and borrow some log tackle to get the wagon out——”

“It’s God’s abomination of womanflesh!” the old man cries suddenly. Then his voice drops, lowers; it is as though
he were merely gaining attention. He talks again rapidly, his tone plausible, vague, fanatic, speaking of himself again in the third person. “He knowed. Old Doc Hines knowed. He had seen the womansign of God’s abomination already on her, under her clothes. So when he went and put on his raincoat and lit the lantern and come back, she was already at the door, with a raincoat on too and he said ‘You get on back to bed’ and she said ‘I want to go too’ and he said ‘You get on back inside that room’ and she went back and he went down and got the big tackle from the mill and got the wagon out. Till nigh daybreak he worked, believing she had obeyed the command of the father the Lord had given her. But he ought to knowed. He ought to knowed God’s abomination of womanflesh; he should have knowed the walking shape of bitchery and abomination already stinking in God’s sight. Telling old Doc Hines, that knowed better, that he was a Mexican. When old Doc Hines could see in his face the black curse of God Almighty. Telling him—”

“What?” Hightower says. He speaks loudly, as if he had anticipated having to drown the other’s voice by sheer volume. “What is this?”

“It was a fellow with the circus,” Byron says. “She told him that the man was a Mexican, the daughter told him when he caught her. Maybe that’s what the fellow told the gal. But he——” again he indicates the old man “——knew somehow that the fellow had nigger blood. Maybe the circus folks told him. I dont know. He aint never said how he found out, like that never made any difference. And I reckon it didn’t, after the next night.”

“The next night?”

“I reckon she slipped out that night when the circus was stuck. He says she did. Anyway, he acted like it, and what he did could not have happened if he hadn’t known and she hadn’t slipped out. Because the next day she went in to the circus with some neighbors. He let her go, because he didn’t know then that she had slipped out the night before. He didn’t suspect anything even when she came out to get into the neighbor’s wagon with her Sunday dress on. But he was waiting for the wagon when it came back that night, listening for it, when it came up the road and passed the house like it was not going to stop to let her out. And he ran out and called, and the neighbor stopped the wagon and the gal wasn’t in it. The neighbor said that she had left them on the circus lot, to spend the night with another girl that lived about six miles away, and the neighbor wondered how Hines didn’t know about it, because he said that the gal had her grip with her when she got into the wagon. Hines hadn’t seen the grip. And she——” this time he indicates the stonefaced woman; she may or may not be listening to what he is saying “——she says it was the devil that guided him. She says he could not have known anymore than she did, where the gal was then, and yet he come into the house and got his pistol and knocked her down across the bed when she tried to stop him and saddled his horse and rode off. And she said he took the only short cut he could possibly have taken, choosing it in the dark, out of a half a dozen of them, that would ever have caught up with them. And yet it wasn’t any possible way that he could have known which road they had taken. But he did. He found them like he had known all the time just where they would be, like him and the man that his gal
told him was a Mexican had made a date to meet there. It was like he knew. It was pitch dark, and even when he caught up with a buggy, there wasn’t any way he could have told it was the one he wanted. But he rode right up behind the buggy, the first buggy he had seen that night. He rode up on the right side of it and he leaned down, still in the pitch dark and without saying a word and without stopping his horse, and grabbed the man that might have been a stranger or a neighbor for all he could have known by sight or hearing. Grabbed him by one hand and held the pistol against him with the other and shot him dead and brought the gal back home behind him on the horse. He left the buggy and the man both there in the road. It was raining again, too.”