Before Gina could reply, Celestina — extravagant compensation for a brief marriage to a gorgeous rat—burst into the room. Wailing, she delivered herself of a wide-ranging indictment, charging her cousins Stefano and Roberto with several atrocities having to do with her new bride doll and a space freighter. "It’s hopeless," Aunt Rosa said, throwing up her hands. "Even the little ones are shits." Shaking her head, Gina went off to set up some kind of demilitarized zone in the playroom.
THAT WINTER, GINA WOULD SOMETIMES TAKE THE FLORIST’S CARD OUT of her bureau drawer and look at it. Holding up an unbraced hand, she would say aloud, with Sandoz’s own antique formality, "No explanations are necessary." Nor were any likely to be offered, she realized as the weeks became months. Every Friday, she left guinea-pig chow and a bag of fresh litter at the refectory with Cosimo. After the first two visits, she made a point of doing this while Celestina was at kindergarten. It was bad enough trying to explain Carlo’s absences and inconsistencies to the child without attempting to explain Emilio Sandoz as well. Once, in early spring, she worked herself into a rage and considered banging on Sandoz’s door to tell him he could ignore her but not Celestina, but she identified this almost immediately as displaced emotion, more properly aimed at Carlo Giuliani than at an ex-priest she barely knew.
She understood that a good portion of what she felt and thought about Emilio Sandoz was concocted of equal parts romantic idiocy, hurt pride and sexual fantasy. Gina, she would tell herself, Carlo is a prick but you are a fool. On the other hand, she thought prosaically, fantasies about a dark, brooding man with a tragic past are more interesting than blubbering over getting dumped by a jerk for a teenaged boy.
And Emilio had sent her flowers. Flowers and four words: "I need some time." That implied something, didn’t it? It wasn’t all in her head. She had the note.
She might have wished for some golden mean between Carlo’s endlessly inventive eloquence and the strict, unexpansive silence of Emilio Sandoz. But in the end, she decided to play by Emilio’s rules, even if she didn’t know quite what they were. There didn’t seem to be any other choice, apart from forgetting him altogether. And that, Gina found, was evidently not an option.
WHAT COULD HE HAVE SAID? "SIGNORA, I MAY HAVE EXPOSED YOU AND your child to a fatal disease. Let’s hope I’m wrong. It will be months before we know." There was no point in scaring her—he was frightened enough for both of them. So Emilio Sandoz took himself hostage until he could prove to his own satisfaction that he was not a danger to others. It was an act of will, and it required of him a complete strategic reversal in his war with the past.
Living alone had allowed him to withdraw with honor from the battlefield his body represented. Once a source of satisfaction, it had become an unwanted burden, to be punished for its frailties and vulnerability with indifference and contempt. He fueled it when hunger interfered with his work, rested it when he was tired enough to sleep through nightmares, despised it when it failed him: when the headaches almost blinded him, when his hands hurt so much that he sat laughing in the dark, the pain comic in its intensity.
He had never before felt so entirely disconnected from himself.
He was not a virgin. Neither was he an ascetic; while studying for the priesthood, he had come to the conclusion that he would not be able to live as a celibate by denying or ignoring his physical needs. This is my body, he told his silent God, this is what I am. He provided himself with sexual release and knew this was as necessary to him as food and rest, as lacking in sin as the desire to run, to field a baseball, to dance.
And yet, he was aware that he had taken inordinate pride in his ability to govern himself and that this, in part, accounted for his reaction to the rapes. When he began to understand that resistance made it worse for him and more gratifying for those who used him, he tried to submit passively, to deny them as much as he could. It was beyond him: intolerable, impossible. And when he could not endure being used again, when he decided to kill or die rather than submit once more, it had cost Askama’s life. Was rape his punishment for pride? An ugly lesson in humility, but one he might have been able to learn, had Askama not died for his sins.
None of it made sense.
Why had God not left him in Puerto Rico? He had never sought or expected spiritual grandeur. For years he was, without complaint, solo cum Solus—alone with the Alone, hearing nothing of God, feeling nothing of God, expecting nothing of God. He lived in the world without being part of it, lived in the unfathomable without being part of it. He was grateful to be what he had become: an ex-academic, a parish priest working in the slum of his childhood.
But then, on Rakhat, when Emilio Sandoz had made a place in his soul large enough and open enough, he had, against all expectation, been filled with God—not filled but inundated! He felt himself flooded, drowned in light, deafened by the power of it. He had not sought this! He had never taken pride in it, never understood it as recompense for what he had offered God. What filled him was incommensurate, measureless, unearned, unimagined. It was God’s grace, freely given. Or so he’d thought.
Was it arrogance and not faith, to have believed that the mission to Rakhat was part of some plan? Until the very moment that the Jana’ata patrol began to slaughter children, there was no warning, no hint that they were making a fatal mistake. Why had God abandoned them all, human and Runa alike? Why this silent, brutal indifference after so much apparent intervention?
"You seduced me, Lord, and I let You," he read in Jeremiah, weeping, when Kalingemala Lopore left. "You raped me, and I have become the object of derision."
Outraged that anyone’s faith should be tested as his had been, and profoundly ashamed that he had failed that test, Emilio Sandoz knew only that he could not accept the unacceptable and thank God for it. So he had abandoned his body, abandoned his soul—surrendered them unconditionally to whatever force had beaten him, tried to live only in a mind over which he retained sovereignty. And for a time, he found not peace but at least a kind of uneasy ceasefire.
Daniel Iron Horse put an end to that; whatever had happened on Rakhat, whoever was to blame, Emilio Sandoz was alive and his life touched other lives. So, he told himself, face it.
He ate decent meals three times a day, as though the food were medicine. He began again to run, circling the dormant retreat house gardens, working up to four eight-minute miles every morning, rain or shine. Twice a day, he forced himself to break off work and carefully picked up a set of handweights, methodically exercising arm muscles that now did double duty, indirectly controlling his fingers through the brace mechanisms. By April, he was approaching welterweight, and the shirts he wore no longer looked as though they were still on hangers.
The headaches persisted. The nightmares continued. But he won back lost ground with infantry doggedness and, this time, he was determined to hold it.
IT WAS AN UNUSUALLY CHILLY MORNING IN EARLY MAY AND CELESTINA was at kindergarten when Gina Giuliani glanced out the kitchen window and noticed a man on foot talking to the guard at the end of the drive. She recognized the gray suede jacket she’d bought for him before she recognized Sandoz himself and briefly considered doing something about her hair, but changed her mind. Pulling on a cardigan, she walked out the back door to meet him.
"Don Emilio!" she said smiling broadly as he approached. "You look well."
"I am well," he said without a trace of irony, responding to the automatic pleasantry as the literal truth that it was. "I was not certain before, but I am now. I have come to beg pardon, signora. I believed it was better to be rude than to worry you uselessly."