Animal Dreams: A Novel by Barbara Kingsolver
All I kept thinking was that he must be wrong. I doubted he'd had a CAT scan. The thing to do would be to check into the University Hospital in Tucson and get a neurological workup, to rule out other things, but I didn't try to talk him into it. The nature of my relationship with Doc Homer, which had eluded me over the phone, came back instantly when I saw him. There are all the small things you love and despise about a parent: the disappointed eyes, the mannerisms, the sound of the voice as much as the meaning of the words, that add up to that singular thing--the way you are both going to respond, whether you like it or not. It had settled heavily over our table and I could hardly breathe. I knew this man. He wouldn't seek out a second opinion to stack up against his own. He'd suffer his own doubts but never anyone else's. The waitress swished over and brought us fresh margaritas. The trickle of the fountain put me on edge, the way a running toilet will, or any sound of water going to waste. "What are you going to do?" I asked Doc Homer.
"I don't see a need to do anything special, for the time being. I'll make arrangements when the time comes."
My stomach was tight. I felt perversely annoyed with the smiling clay pigs. I touched my lips to the coarse salt on the rim of the margarita glass, and the crystals felt like sand in my mouth, or broken glass. I thought of walls I'd seen in Mexico--high brick hacienda walls topped with a crest of broken bottles imbedded in cement, to keep people on their correct sides of the fence. If they want to provide an authentic Mexican flavor they should have something like that in here, I thought.
"Nobody else knows," he said. "And I'd like for you not to mention it to your sister."
I stared at him. I knew it wouldn't matter what came next, whether I said "Okay," or "Why?" or "That's not fair," which is what I mainly felt. Dr. Homer Noline had stopped talking, there being nothing more to say, in his opinion. I imagined him going back to Grace on the bus and lying that night in his bed, tired but wide awake, recalling the events of his day and wondering what pathways of thought in his brain might be slipping off track. Trying to remember what vegetable he'd cooked for dinner or what tie he'd worn. He might be confronting these thoughts with fear, or only clinical interest. I really didn't know.
For the first time in my life then, and just for a few seconds, I was able to see Doc Homer as someone I felt sorry for. It was a turning point for me, one of those instants of freakishly clear sight when you understand that your parent might have taken entirely the wrong road in life, even if that road includes your own existence. I pitied Doc Homer for his slavish self-sufficiency. For standing Hallie and me in the kitchen and inspecting us like a general, not for crooked hems so much as for signs of the weakness of our age: the lipstick hidden in a book satchel, the smoldering wish to be like everyone else. Being like no one else, being alone, was the central ethic of his life. Mine too, to some extent, not by choice but by default. My father, the only real candidate for center of my universe, was content to sail his private sea and leave me on my own. I still held that against him. I hadn't thought before about how self-sufficiency could turn on you in old age or sickness. The captain was going down with his ship. He was just a man, becoming a child. It became possible for me to go back to Grace.
I arrived at the house, nervous, ludicrously armed with Uda's squash pie. But he was in his darkroom. Not waiting. He called it his workroom, I think to try to legitimize his hobby to himself. Doc Homer made pictures. Specifically, he made photographs of things that didn't look like what they actually were. He had hundreds: clouds that looked like animals, landscapes that looked like clouds. They were pressed between slabs of cardboard, in closets. Only one was framed. The matting and framing were my present to him one Christmas when I was in high school, after I'd started making my own money. It had cost me a lot, and was a mistake. His hobby was a private thing, too frivolous in his opinion to be put on public display. I should have foreseen this, but didn't.
Nevertheless, he'd hung it in the kitchen, God only knows why because the man was far from sentimental, and there it still hung. It was the first thing I noticed when I knocked on the screen door and walked in. The photo was my favorite, a hand on a white table. And of course it wasn't a hand, but a clump of five saguaro cacti, oddly curved and bumpy, shot against a clear sky. All turned sideways. Odd as it seemed, this thing he did, there was a great deal of art to it.
I put the pie in the refrigerator and nosed around a little, telling myself it's what a good daughter would do. I pictured these good daughters--wifely and practical, wearing perms and loafers and Peter Pan collars. I didn't remotely look the part. As I crept around the house it felt to me like a great, sad, recently disclosed secret. The kitchen seemed smaller than when I was a girl, standing on a bucket to reach the sink, but that's natural. It was also crowded with odds and ends you wouldn't expect in a kitchen: a pair of Piper forceps, for example, washed with the day's dishes and sitting amongst them on the drainboard. This didn't signify any new eccentricity on his part. He'd always had a bizarre sense of utility. I could picture him using the forceps to deliver a head of cabbage from a pot of boiling water. Holding it up. Not in a show-off way, but proud he'd thought of it, as if he were part of a very small club of people who had the brains to put obstetrical instruments to use in the kitchen.
The rooms were cool and stale although it was hot outside. I stepped through the living room, over the old Turkish carpet, which looked malnourished, its bare white threads exposed like ribs. Doc Homer could afford better, I heard somebody say in my mind, a voice I couldn't identify. "All the money he's got up there." Which of course wasn't true, we never had much, that was just what people thought because we were standoffish. Beyond the living room was the parlor where he used to see patients who'd come to the house, embarrassed, it seems to me now, at night when the office was closed. At present the parlor was shockingly cramped. The door to the outside porch was blocked by furniture I didn't remember: two sofas and something that looked like a cobbler's bench. Folded on a sofa was one thing I remembered well, a black crocheted afghan with red flowers. Hallie and I used to drag that thing around everywhere, our totem against disaster. It looked cleaner now than I'd ever seen it.
Magazines and journals were everywhere. His American Journal of Genetics was still organized chronologically on the shelf. That was his pet interest; they'd once published his article on the greatly inbred gene pool of Grace, with its marble-eyed babies. (He'd even rigged up a system for photographing the newborns' eyes, for documentation.) The trait first began showing up in the fifties, when third-cousin descendants of the Gracela sisters started marrying each other. Emelina would have been one of his subjects. You needed to get the gene from both sides; it was recessive. That's about what I knew. For me it was enough to understand that everyone in Grace was somehow related except us Nolines, the fish out of water. Our gene pool was back in Illinois.
Other magazines, many in number, were piled on the floor. I picked up a Lancet: 1977, my first year of med school. There was an important article on diabetes I remembered. Underneath, a recent National Geographic. There was no order at all. Though if I mentioned it he'd come up with some elaborate rationale before he'd admit to disorganization. South Sea Islands and Islets of Langerhans, I could see him saying, and not meaning it as a joke. The smell of mold was making my eyes water. I was inclined toward the stairs, to go up and see what kind of shape the bedrooms were in, but I didn't have the heart. It wasn't my house. I forced my hand to knock on the darkroom door.
"Open. I'm about to start printing."
I closed the door behind me. There was only a dim red light bulb. "Hi, Pop," I said.
He looked at me, unsurprised and not very much changed, I could see as my eyes adjusted. I was prepared for frailty and incoherence but he was lucid and familiar. The same substantial hands and wrist bones, the straight nose and low, broad mouth--things I also have, without noticing much. He motioned for me to sit.
"So how are you these days?" I asked.
He ignored t
I sat carefully on a cool file cabinet. He was adjusting black knobs on the enlarger, preparing to make a print. When he switched on the bulb an image appeared against the wall, in reverse: white trees, black sky, mottled foreground. I'd learned how to look at negatives many years before I read my first X-ray. He shrank the frame into focus, shut it off while he slid a rectangle of paper into place and set the timer, and then projected the picture again, burning it into the paper. In the center were two old men hunched on a stone wall, backs to the camera.
"They look like rocks," I said. "It's hard to see where the wall ends and the men start."
"Men who look like stones," said Doc Homer. His speech was more formal than most people's writing. Who else would really say "stones"?
"Except for the hat," I said. "That hat's a giveaway."
"I'm taking it out." He held a small steel spatula into the beam of light and waved little circles over the area of the man's hat, as if he were rubbing it out, which is exactly what he was doing. Photographers call this "dodging," and the spatula was a "dodging tool," though in all probability this one was something used in gallbladder surgery. When I was little I called it the Magic Wand.
The timer rang and he shut the projector off. I looked at his face in profile in the faint red light. Deep lines ran from his nose to the corners of his mouth. He didn't look well, but maybe he never had. He picked up the print by its edges.
"You haven't heard anything from Hallie, have you?"
He shook his head.
"You're sure you don't want me to tell her you've got, that you're sick? I'm sorry to bring this up, but it's hard to be the only one. I think she'd want to know."
He appeared not to have heard me. I knew he had. Doc Homer never argued, he just didn't participate in conversation that didn't please him.
"So did the man's hat go away?" I asked.
He slipped the paper into a dishpan of clear liquid. "We'll see." He seemed suddenly happy now, almost friendly, as he often did in here. The darkroom was the nearest I'd ever come to feeling like I had a dad. We stood without talking and watched a gray image grow on the paper like some fungus with a mind of its own. I thought about the complex chemistry of vision, remembering from medical school the textbook diagrams of an image projected through the eyeball, temporarily inscribed on the retina.
"I never thought about how printing a photograph duplicates eyesight," I said. "It's the same exact process in slow motion."
He nodded appreciatively and my heart warmed. I'd pleased him. "Probably there is no real invention in the modern world," he said. "Just a good deal of elaboration on nature." He lifted out the slick print and slipped it into a second tray, the fixer.
"The stone has no head," he pronounced, correctly; it looked like a rock wall with two extra rocks balanced on top. You'd think it was just a simple snapshot of what it looked like. His finest art defeated itself. God only knows what was the point, but it made him smile. When the timer rang again he took the photograph out and slid it into its final bath. He fished out several other prints and attached them with small clothespins to a wire. Then he dried his hands on a towel, one finger at a time. These gestures made me think of all the years he'd spent alone, doing his own dishes, his laundry.
I felt our visit drawing to a close, like a scientifically predicted death. We would go out into the light, find a little more to say, and then I'd go.
"There's a pie for you in the kitchen," I said. "From Uda. Who is she?"
"Uda Ruth Dell," he said, as though that explained it.
"I mean, what is she to me? Did I use to know her?"
"Not especially," said Doc Homer, still studying the photographs. "No better than you knew anyone else."
"She knows all about me, and then some," I said. "She probably knows what I had for lunch."
"You're in Grace," he said.
"Well, I was embarrassed because I couldn't remember her. She wasn't very helpful. She just stood there waiting for me to rack my brain and come up with her name. She sure knew me right off the bat."
Doc Homer didn't care for expressions like "right off the bat." He switched off the red light before opening the darkroom door, passing us through a moment of absolute darkness. He knew, but refused to accept, that I was afraid of the dark. The click and blackness plunged me into panic and I grabbed his upper arm. Surprisingly, he touched my knuckles lightly with his fingertips.
"You're in Grace," he said again, as if nothing had happened. "There is only one of you for all these people to be watching for. And so many of them for you."
I'd lived all my life with a recurring nightmare. It would come to me in that drowsy twilight where sleep pulls on your mind with tempting music but is still preventable. When I let down my guard the dream would spring again, sending me back into weeks of insomnia. It had to do with losing my eyesight. It wasn't a complicated dream, like a movie, but a single, paralyzing freeze frame: there's a shattering pop, like glass breaking, and then I am blind.
Once, years ago on Crete, Carlo and I were driving on a badly rutted gravel road to get to a beach on the south of the island. A truck loaded with blood oranges kicked up a rock that broke the windshield in front of my face. I wasn't hurt, the rock only pocked the glass and spun out a spiderweb of cracks, but I spent the rest of the day in mute hysteria. Carlo never did know what was wrong. Any explanation I could think of sounded like superstition. My dream was very much more than a dream. It had so much living weight to it, such prescience, it felt like something that was someday bound to happen.
The insomnia, on the other hand, wasn't such a big problem as you might imagine. I worked around it. I read a lot. In med school I did my best studying while my classmates were in the throes of rapid eye movement. I still considered my night-prowling habits to be a kind of secret advantage I had over other people. I had the extra hours in my day that they were always wishing for.
Emelina would not understand this. The night before school started, she brought me warm milk.
"Don't worry about it," I said. She'd also brought out a blue embroidered tablecloth, which she shook out like a little sail and spread efficiently over my table. She felt the place needed more honey touches.
"You've got to have your sleep. They had a special on Nova about it. This man in Italy died from not sleeping for around eight months. Before he died he went crazy. He'd salute the doctors like he was in the army."
"Em, I'll live. That's too pretty, that tablecloth. Don't you need that?"
"Are you kidding? Since Grammy joined Stitch and Bitch she's been embroidering borders on the dish rags. What happens if you just lie in bed and count backward from ninety-nine? That's what I tell the boys to do when they can't settle down."
"Insomnia's different," I said. It was hard to explain this to people. "You know the light that comes on when you open the refrigerator door? Just imagine it stays on all the time, even after you close the door. That's what it's like in my head. The light stays on."
Emelina made herself comfortable in my other living-room chair. "You're like that Thoreau guy that lived at Walden Pond. Remember when we read that in Senior English? He only had two chairs. We need to get you some more stuff in here."
I was surprised that Henry Thoreau entered into Emelina's world view. "If I want company I can always go over to your house," I pointed out.
"That's the God's truth. I'm about ready to move out. Tonight G
I drank the milk. I could stand some mothering. I wondered if I'd had this in the back of my mind when I moved in here.
Emelina scrutinized my clean, white walls. "Codi, I hope you'll take this the right way, but I don't see how you can live in a place and have it feel like nobody lives there."
"I have things in here. My clothes, look in the closet. And books. Some of those books are very personal." This was true. Besides my Field Guide to the Invertebrates there were things Hallie had sent me over the years, and an old volume of American poetry--incomprehensibly, a graduation gift from Doc Homer.
"Your room was like this when we were in high school. I had posters of Paul Revere and the Raiders and dead corsages stuck in the mirror, every kind of junk. And when we'd go over to your house it was like a room somebody's just moved out of."
"I'm neat," I said.
"It's not neat. It's hyper neat."
"Can you imagine what Doc Homer would have said if Paul Revere and the Raiders turned up in his home? Without an appointment?"
She laughed.
"Emelina, who's Uda Ruth Dell?"
"Well, you know her, she lives up by Doc Homer. She used to take care of you sometimes, I think. Her and that other woman that's dead now, I think her name was Naomi."
"She used to take care of us?" I'd been trying all day to place her. I couldn't believe I'd draw a complete blank on someone who'd been a fixture of my childhood.
"Sure. Uda's husband Eddie saved you and Hallie's life that time when you got stranded in a storm down by the crick."
"I don't have any idea what you're talking about."
"Yes you do. When you and Hallie almost drowned in that flood. You were just little."
"Well, how do you remember it, then? I don't."
"Everybody knew about that. It was a famous incident. You hid down in a coyote burrow and wouldn't come out and Eddie Dell found you and drug you out. You all stayed at Uda's. Doc Homer must have been working at the hospital or something."