Pricksongs & Descants (9 page)

7

The old man
’
s pale blue eyes float damply in deep dark pouches, half-shrouded by heavy upper lids and beetled over by shaggy white brows. Deep creases fan out from the moist corners, angle down past the nose, score the tanned cheeks and pinch the mouth. The old man
’
s gaze is straight ahead, but at what? Perhaps at nothing. Some invisible destination. Some irrecoverable point of departure. One thing can be said about the eyes: they are tired. Whether they have seen too much or too little, they betray no will to see yet more.

8

The witch is wrapped in a tortured whirl of black rags. Her long face is drawn and livid, and her eyes glow like burning coals. Her angular body twists this way and that, flapping the black rags— flecks of blue and amethyst wink and flash in the black tangle. Her gnarled blue hands snatch greedily at space, shred her clothes, claw cruelly at her face and throat. She cackles silently, then suddenly screeches madly, seizes a passing dove, and tears its heart out.

9

The girl, younger than the boy, skips blithely down the forest path, her blonde curls flowing freely. Her brown dress is coarse and plain, but her apron is gay and white petticoats wink from beneath the tattered hem. Her skin is fresh and pink and soft, her knees and elbows dimpled, her cheeks rosy. Her young gaze flicks airily from flower to flower, bird to bird, tree to tree, from the boy to the old man, from the green grass to the encroaching darkness, and all of it seems to delight her. equally. Her basket is full to overflowing. Does she even know the boy is dropping crumbs
?
or where the old man is leading them
?
Of course, but it
’
s nothing
!
a game!

10

There is, in the forest, even now, a sunny place, with mintdrop trees and cotton candy bushes, an air as fresh and heady as lemonade. Rivulets of honey flow over gumdrop pebbles, and lollypops grow wild as daisies. This is the place of the gingerbread house. Children come here, but, they say, none leave.

11

The dove is a soft lustrous white, head high, breast filled, tip of the tail less than a feather
’
s thickness off the ground. From above, it would be seen against the pale path—a mixture of umbers and grays and the sharp brown strokes of pine needles—but from its own level, in profile, it
’
s pure whiteness is set off glowingly against the obscure mallows and distant moss greens of the forest. Only its small beak moves. Around a bread crumb.

12

The song is about a great king who won many battles, but the girl sings alone. The old man has turned back, gazes curiously but dispassionately now at the boy. The boy, too, has turned, no longer furtive, hand poised but no crumb dropping from his fingertips. He stares back down the path by which they three have come, his mouth agape, his eyes startled. His left hand is raised, as if arrested a moment before striking out in protest. Doves are eating his bread crumbs. His ruse has failed. Perhaps the old man, not so ignorant in such matters after all, has known all along it would. The girl sings of pretty things sold in the market.

13

So huddled over her prey is the witch that she seems nothing more than a pile of black rags heaped on a post. Her pale long-nailed hands arc curled inward toward her breast, massaging the object, her head lower than her hunched shoulders, wan beaked nose poked in among the restless fingers. She pauses, cackling softly, peers left, then right, then lifts the heart before her eyes. The burnished heart of the dove glitters like a ruby, a polished cherry, a brilliant, heart-shaped bloodstone. It beats still. A soft radiant pulsing. The black bony shoulders of the witch quake with glee, with greed, with lust.

14

A wild blur of fluttering white: the dove
’
s wings flapping! Hands clutch its body, its head, its throat, small hands with short plump fingers. Its wings flail against the dusky forest green, but it is forced down against the umber earth. The boy falls upon it, his hands bloodied by beak and claws.

15

The gingerbread house is approached by flagstones of variegated wafers, through a garden of candied fruits and all-day suckers in neat little rows.

16

No song now from the lips of the girl, but a cry o
f
anguish. The basket of flowers is dropped, the kings and saints forgotten. She struggles with the boy for the bird. She kicks him, falls upon him, pulls his hair, tears at his red jacket. He huddles around the bird, trying to elbow free of the girl. Both children are weeping, the boy of anger and frustration, the girl of pain and pity and a bruised-heart Their legs entangle, their fists beat at each other, feathers
fly.

17

The pale blue eyes of the old man stare not ahead, but down. The squint, the sorrow, the tedium arc vanished; the eyes focus clearly. The deep creases fanning out from the damp corners pinch inward, a brief wince, as though at some inner hurt, some certain anguish, some old wisdom. He sighs.

18

The girl has captured the bird. The boy, small chest heaving, kneels in the path watching her, the anger largely drained out of him. His faded red jacket is torn; his pants are full of dust and pine needles. She has thrust the dove protectively beneath her skirt, and sits, knees apart, leaning over it, weeping softly. The old man stoops down, lifts her bright orange apron, her skirt, her petticoats. The boy turns away. The dove is nested in her small round thighs. It is dead.

19

Shadows have lengthened. Umbers and lavenders and greens have grayed. But the body of the dove glows yet in the gathering dusk. The whiteness of the ruffled breast seems to be fighting back against the threat of night. It is strewn with flowers, now beginning to wilt The old man, the boy, and the girl have gone.

20

The beams of the gingerbread house are licorice sticks, cemented with taffy, weatherboarded with gingerbread, and coated with caramel. Peppermint-stick chimneys sprout randomly from its chocolate roof and its windows are laced with meringue. Oh, what a house I and the best thing of all is the door.

21

The forest is dense and deep. Branches reach forth like arms. Brown animals scurry. The boy makes no furtive gestures. The girl, carrying her flowerbasket, does not skip or sing. They walk, arms linked, eyes wide open and staring ahead into the forest. The old man plods on, leading the way, his heavy old leather-thonged shoes shuffling in the damp dust and undergrowth.

22

The old man
’
s eyes, pale in the sunlight, now seem to glitter in the late twilight. Perhaps it is their wetness picking up the last flickering light of day. The squint has returned, but it is not the squint of weariness: resistance, rather. His mouth opens as though to speak, to rebuke, but his teeth are clenched. The witch twists and quivers, her black rags whirling, whipping, flapping. From her lean bosom, she withdraws the pulsing red heart of a dove. How it glows, how it rages, how it dances in the dusk I The old man now do
e
s not resist. Lust flattens his face and mists his old eyes, where glitter now reflections of the ruby heart. Grimacing, he plummets forward, covering the cackling witch, crashing through brambles that tear at his clothes.

23

A wild screech cleaves the silence of the dusky forest. Birds start up from branches and the undergrow
th is alive with frightened ani
mals. The old man stops short, one hand raised protectively in front of him, the other, as though part of the same instinct, reaching back to shield his children. Dropping her basket of flowers, the girl cries out in terror and springs forward into the old man
’
s arms. The boy blanches, shivers as though a cold wind might be wetly wrapping his young body, but manfully holds his ground. Shapes seem to twist and coil, and vapors seep up from the forest floor. The girl whimpers and the old man holds her close.

24

The beds are simple but solid. The old man himself has made them. The sun is setting, the room is in shadows, the children tucked safely in. The old man tells them a story about a good fairy who granted a poor man three wishes. The wishes, he knows, were wasted, but so then is the story. He lengthens the tale with details about the good fairy, how sweet and kind and pretty she is, then lets the children complete the story with their own wishes, their own dreams. Below, a brutal demand is being forced upon him. Why must the goodness of all wishes come to nothing?

25

The flow
e
rbasket lies, overturned, by the forest path, its wilting flowers strewn. Shadows darker than dried blood spread beneath its gaping mouth. The shadows are long, for night is falling.

26

The old man has fallen into the brambles. The children, weeping, help pull him free. He sits on the forest path staring at the boy and girl. It is as though he is unable to recognize them. Their weeping dies away. They huddle more closely together, stare back at the old man. His face is scratched, his cloth
es torn. He is breathing irregu
larly.

27

The sun, the songs, the breadcrumbs, the dove, the overturned basket, the long passage toward night: where, the old man wonders, have all the good fairies gone? He leads the way, pushing back the branches. The children follow, silent and frightened.

28

The boy pales and his heart pounds, but manfully he holds his ground. The witch writhes, her black rags fluttering, licking at the twisted branches. With a soft seductive cackle, she holds before him the burnished cherry-red heart of a dove. The boy licks his lips. She steps back. The glowing heart pulses gently, evenly, excitingly.

29

The good fairy has sparkling blue eyes and golden hair, a soft sweet mouth and gentle hands that caress and soothe. Gossamer wings sprout from her smooth back; from her flawless chest two firm breasts with tips bright as rubies.

30

The witch, holding the flaming pulsing heart out to the boy, steps back into the dark forest. The boy, in hesitation, follows. Back. Back. Swollen eyes aglitter, the witch draws the ruby heart close to her dark lean breast, then past her shoulder and away from the boy. Transfixed, he follows it, brushing by her. The witch
’
s gnarled and bluish fingers claw at his poor garments, his pale red jacket and bluish-brown pants, surprising his soft young flesh.

31

The old man
’
s shoulders are bowed earthward, his face is lined with sorrow, his neck bent forward with resignation, but his eyes glow like burning coals. He clutches his shredded shirt to his throat, stares intensely at the boy. The boy stands alone and trembling on the path, staring into the forest
’
s terrible darkness. Shapes whisper and coil. The boy licks his lips, steps forward. A terrible shriek shreds the forest hush. The old m
an grimaces, pushes the whimper
ing girl away, strikes the boy.

32

No more breadcrumbs, no more pebbles, no more songs or Bowers. The slap echoes through the terrible forest, doubles back on its own echoes, folding finally into a sound not unlike a whispering cackle.

33

The girl, weeping, kisses the struck boy and presses him close, shielding him from the tormented old man. The old man, taken aback, reaches out uncertainly, gently touches the girl
’
s frail shoul
der. She shakes his hand off—nearly a shudder—and shrinks toward the boy. The boy squares his shoulders, color returning to his face.

The familiar creases of age and despair crinkle again the old man
’
s face. His pale blue eyes mist over. He looks away. He leaves the children by the last light of day.

34

But the door! The door is shaped like a heart and is as red as a cherry, always half-open, whether lit by sun or moon, is sweeter than a sugarplum, more enchanting than a peppermint stick. It is red as a poppy, red as an apple, red as a strawberry, red as a bloodstone, red as a rose. Oh, what a th
ing is the door of that house!

35

The children, alone in the strange black forest, huddle wretchedly under a great gnarled tree. Owls hoot and bats flick menacingly through the twisting branches. Strange shapes writhe and rustle before their weary eyes. They hold each other tight and, trembling, sing
lullabies
, but they are not reassured.