Vampires in the Lemon Grove (7 page)

“Go reel for the empire, Dai. Make more silk for him to sell. Go throw the little girls another party! Make believe we’re not slaves here.”

Dai storms off, and I feel a mean little pleasure.

For two days we don’t speak, until I worry that we never will again. But on the second night, Dai finds me. She leans in and whispers that she has accepted my challenge. At first I am so happy to hear her voice that I only laugh, take her hand. “What challenge? What are you talking about?”

“I thought about what you said,” she tells me. She talks about her samurai father’s last stand, the Satsuma Rebellion. In the
countryside, she says, there are peasant armies who protest “the blood tax,” refuse to sow new crops. I nod with my eyes shut, watching my grandfather’s hat floating through our fields in Gifu.

“And you’re right, Kitsune—we have to stop reeling. If we don’t, he’ll get every year of our futures. He’ll get our last breaths. The silk belongs to us,
we
make it. We can use that to bargain with the Agent.”

The following morning, Dai announces that she won’t move from her mat.

“I’m on strike,” she says. “No more reeling.”

By the second day, her belly has grown so bloated with thread that we are begging her to work. The mulberry leaves arrive, and she refuses to eat them.

“No more room for that.” She smiles.

Dai’s face is so swollen that she can’t open one eye. She lies with her arms crossed over her chest, her belly heaving.

By the fourth day, I can barely look at her.

“You’ll die,” I whisper.

She nods resolutely.

“I’m escaping. He might still stop me. But I’ll do my best.”

We send a note for the Agent with the blind woman. “Please tell him to come.”

“Join me,” Dai begs us, and our eyes dull and lower, we sway. For five days, Dai doesn’t reel. She never eats. Some of us, I’m sure, don’t mind the extra fistful of leaves. (A tiny voice I can’t gag begins to babble in the background:
If x-many others strike, Kitsune, there will be x-much more food for you …
)

Guiltily, I set her portion aside, pushing the leaves into a little triangle.
There
, I think. The flag of Dai’s resistance. Something flashes on one—a real silkworm. Inching along in its wet and stupid oblivion. My stomach flips to see all the little holes its hunger has punched into the green leaf.

During our break, I bring Dai my blanket. I try to squeeze
some of the water from the leaf-velvet onto her tongue, which she refuses. She doesn’t make a sound, but I hiss—her belly is grotesquely distended and stippled with lumps, like a sow’s pregnant with a litter of ten piglets. Her excess thread is packed in knots. Strangling Dai from within. Perhaps the Agent can call on a Western veterinarian, I find myself thinking. Whatever is happening to her seems beyond the ken of Emperor Meiji’s own doctors.

“Start reeling again!” I gasp. “Dai, please.”

“It looks worse than it is. It’s easy enough to stop. You’ll see for yourself, I hope.”

Her skin has an unhealthy translucence. Her eyes are standing out in her shrunken face, as if every breath costs her. Soon I will be able to see the very thoughts in her skull, the way red thread fans into veiny view under her skin. Dai gives me her bravest smile. “Get some rest, Kitsune. Stop poisoning yourself on the stairwell of Gifu. If I can stop reeling, surely you can, too.”

When she dies, all the silk is still stubbornly housed in her belly, “stolen from the factory,” as the Agent alleges. “This girl died a thief.”

Three days after her death, he finally shows up. He strides over to Dai and touches her belly with a stick. When a few of us grab for his legs, he makes a face and kicks us off.

“Perhaps we can still salvage some of it,” he grumbles, rolling her into his sack.

A great sadness settles over our whole group and doesn’t lift. What the Agent carried off with Dai was everything we had left:
Chiyo’s clouds and mountains, my farmhouse in Gifu, Etsuyo’s fiancé. It’s clear to us now that we can never leave this room—we can never be away from the Machine for more than five days. Unless we live here, where the Machine can extract the thread from our bodies at speeds no human hand could match, the silk will build and build and kill us in the end. Dai’s experiment has taught us that.

You never hear a peep in here about the New Year anymore.

I’m eating, I’m reeling, but I, too, appear to be dying. Thread almost totally black. The denier too uneven for any market. In my mind I talk to Dai about it, and she is very reassuring: “It’s going to be fine, Kitsune. Only, please, you have to stop—”

Stop thinking about it
. This was Dai’s final entreaty to me.

I close my eyes. I watch my hand signing my father’s name again. I am at the bottom of a stairwell in Gifu. The first time I made this ascent I felt weightless, but now the wood groans under my feet. Just as a single cocoon contains a thousand yards of silk, I can unreel a thousand miles from my memory of this one misstep.

Still, I’m not convinced that you were right, Dai—that it’s such a bad thing, a useless enterprise, to reel and reel out my memory at night. Some part of me, the human part of me, is kept alive by this, I think. Like water flushing a wound, to prevent it from closing. I am a lucky one, like Chiyo says. I made a terrible mistake. In Gifu, in my raggedy clothes, I had an unreckonable power. I didn’t know that at the time. But when I return to the stairwell now, I can feel them webbing around me: my choices, their infinite variety, spiraling out of my hands, my invisible thread. Regret is a pilgrimage back to the place where I was free to choose. It’s become my sanctuary here in Nowhere Mill. A threshold where I still exist.

One morning, two weeks after Dai’s strike, I start talking to Chiyo about her family’s cottage business in Chichibu. Chiyo complains about the smells in her dry attic, where they destroy the silkworm larvae in vinegary solutions. Why do they do that? I want to know. I’ve never heard this part before. Oh, to stop them from undergoing the transformation, Chiyo says. First, the silkworms stop eating. Then they spin their cocoons. Once inside, they molt several times. They grow wings and teeth. If the caterpillars are allowed to evolve, they change into moths. Then these moths bite through the silk and fly off, ruining it for the market.

Teeth and wings, wings and teeth, I keep hearing all day under the whine of the cables.

That night, I try an experiment. I let myself think the black thoughts all evening. Great wheels inside me turn backward at fantastic, groaning velocities. What I focus on is my shadow in the stairwell, falling slantwise behind me, like silk. I see the ink spilling onto the contract, my name bloating monstrously.

And when dawn comes, and I slug my way over to the workbench and plunge my hands into the boiling vat, I see that the experiment was a success. My new threads are stronger and blacker than ever; silk of some nameless variety we have never belly-spun before. I crank them out of my wrist and onto the dowel. There’s not a fleck of green left, not a single frayed strand. “Moonless,” says Hoshi, shrinking from them. Opaque. Midnight at Nowhere Mill pales in comparison. Looking down into the basin, I feel a wild excitement. I made it that color. So I’m no mere carrier, no diseased
kaiko
—I can channel these dyes from my mind into the tough new fiber. I can change my thread’s denier, control its production. Seized by a second inspiration, I begin to unreel at speeds I would have just yesterday thought laughably impossible. Not even Yuna can produce as much thread in an hour. I ignore the whispers that pool around me on the workbench:

“Kitsune’s fishing too deep—look at her finger slits!”

“They look like gills.” Etsuyo shudders.

“Someone should stop her. She’s fishing right down to the bone.”

“What is she making?”

“What are you making?”

“What are you going to do with all that, Kitsune?” Tooka asks nervously.

“Oh, who knows? I’ll just see what it comes to.”

But I
do
know. Without my giving a thought to what step comes next, my hands begin to fly.

The weaving comes so naturally to me that I am barely aware I am doing it, humming as if in a dream. But this weaving is instinctual. What takes effort, what requires a special kind of concentration, is generating the right density of the thread. To do so, I have to keep forging my father’s name in my mind, climbing those stairs, watching my mistake unfurl. I have to drink the toxic tea and feel it burn my throat, lie flat on the cot while my organs are remade by the Agent for the factory, thinking only,
Yes, I chose this
. When these memories send the fierce regret spiraling through me, I focus on my heartbeat, my throbbing palms. Fibers stiffen inside my fingers. Grow strong, I direct the thread. Go black. Lengthen. Stick. And then, when I return to the vats, what I’ve produced is exactly the necessary denier and darkness. I sit at the workbench, at my ordinary station. And I am so happy to discover that I can do all this myself: the silk-generation, the separation, the dyeing, the reeling. Out of the same intuition, I discover that I know how to alter the Machine. “Help me, Tsuki,” I say, because I want her to watch what I am doing. I begin to explain, but she is already disassembling my reeler. “I know, Kitsune,” she says, “I see what you have in mind.” Words seem to be unnecessary now between me and Tsuki—we beam thoughts soundlessly across the room. Perhaps speech will be the next superfluity in Nowhere Mill. Another step we
kaiko
-girls can skip.

Together we adjust the feeder gears, so that the black thread travels in a loop; after getting wrung out and doubled on the Machine’s great wheel, it shuttles back to my hands. I add fresh fibers, drape the long skein over my knees. It is going to be as tall as a man, six feet at least.

Many girls continue feeding the Machine as if nothing unusual is happening. Others, like Tsuki, are watching to see what my fingers are doing. For the past several months, every time I’ve reminisced about the Agent coming to Gifu, bile has risen in my throat. It seems to be composed of every bitterness: grief and rage, the acid regrets. But then, in the middle of my weaving, obeying a queer impulse, I spit some onto my hand. This bile glues my fingers to my fur. Another of nature’s wonders. So even the nausea of regret can be converted to use. I grin to Dai in my head. With this dill-colored glue, I am at last able to rub a sealant over my new thread and complete my work.

It takes me ten hours to spin the black cocoon.

The first girls who see it take one look and run back to the tatami.

The second girls are cautiously admiring.

Hoshi waddles over with her bellyful of blue silk and screams.

I am halfway up the southern wall of Nowhere Mill before I realize what I am doing; then I’m parallel to the woodpecker’s window. The gluey thread collected on my palms sticks me to the glass. For the first time I can see outside: from this angle, nothing but clouds and sky, a blue eternity.
We will have wings soon
, I think, and ten feet below me I hear Tsuki laugh out loud. Using my thread and the homemade glue, I attach the cocoon to a wooden beam; soon, I am floating in circles over the Machine, suspended by my own line. “Come down!” Hoshi yells, but she’s the only one. I secure the cocoon and then I let myself fall, all my weight supported by one thread. Now the cocoon sways over the Machine, a furled black flag, creaking slightly. I
think of my grandfather hanging by the thick rope from our barn door.