I DIDN’T KNOW WHAT MIGHT HAPPEN in the morning, so I decided to search the room while I had the chance. I went through every drawer and looked under the bed. I searched the closets, cabinets, and windowsills, and crawled around on my hands and knees looking for a loose board or nail. I pulled down the window shades, thinking that he might have taped some note somewhere on the roll. I did the best job of searching that any detective would ever execute. And the only thing I could say when I was finished was that Kit Mitchell didn’t hide a thing in his rented room.
FORTY-FIVE MINUTES LATER I WAS STILL THINKING of Charlotta’s sweet kisses. I considered easing the pressure by pleasuring myself, but after being with a real woman for the first time in months I didn’t have much heart for it.
It was almost one A.M. when I remembered the bookcase downstairs.
Nobody was awake in the big, rambling house. They were all working people who were up before the sun each morning. And when they worked they worked hard. Even Charlotta had to go off to bed before eleven.
I TURNED ON A SMALL LAMP and pulled a burgundy hassock up to the double shelf.
Most of the books were romances and westerns. There were a few magazines stacked on the bottom shelf, Life and Men at War made up the most of them. A lot of the books were old and smelled of decaying paper. I loved that smell. Ever since I was a child that odor meant excitement and knowledge.
I found one interesting novel written by a man with the unlikely name of Amos Amso. The book was called Night Man. It was the story of a man who conducted his life only at night. He slept in the daytime and kept all of the shades and curtains in his house tightly drawn during the daylight hours. He’d had many jobs. Once he worked for the phone company as an emergency technician, then as an operator. Later he got a job as a cook in a twenty-four-hour restaurant in a downtown San Francisco hotel. Whenever any employer tried to change his position to some hour that bordered on morning or sunset, he’d quit and look for something else. He rarely saw his family or made professional appointments. He hired a man to impersonate him when he had to show up for important meetings that could only be scheduled during the day. When he wasn’t working, he took long walks in the wee hours, noting the furtive and feral life that lived beyond the hell of the sun.
Finally the main character, who was also called Amos, came across a woman who was attempting to throw herself off of the Golden Gate Bridge in the early hours of the morning. He saved her and talked to her. He convinced her that her life was worth living. Her name was Crystal Limmer and she was a painter, a watercolorist.
That was about the first hundred and fifty pages of the book. I’m a fast reader, but I never finish a book if I don’t see a reason for it. Mr. Amso’s book would either have the hero being pulled out of darkness by this bright gem of a woman or he would lose himself to a gloom he’d never known before finding love. Either way I wasn’t interested, so I put the book back on the shelf.
At least I tried to return it. The books had been packed so tightly that Night Man no longer fit in the space I took it from. I pride myself in organizing space on bookshelves, so I took out a few other books in order to accommodate the full complement.
I removed three Zane Grey westerns. But before I could do anything else, I noticed that there was something behind the first row of books. The shelves were quite a bit deeper than I thought. They were actually set deep into the wall. There was a good six inches of space behind the first row of books.
There was another book back there. A thick book with a hard leather cover that had an embossed design but no writing on it. It was thicker than a bible and the pages were not made of paper but of animal skin. The cover and back were wood with cow’s leather stretched over it. And each page was scrawled on with handwriting from various hands in differing kinds and colors of ink.
The first line of the first page read:
I am Gheeza Manli daughter of Menzi and Allatou born into slavery in the year of the devil seventeen hundred and two . . .
Much of what Gheeza wrote was difficult to make out, while many sections were completely impossible for me to read. She wrote in extraordinarily small script. Her entries went on for about forty pages, telling something of her impossible tale and interrupting that story now and then to tell of births, deaths, and smaller or larger crimes committed against her or that she committed against her masters. Gheeza had a daughter named Asha. Asha took over the duty of maintaining the entries on page forty-two.
Asha was called Mary by her slave masters, as her mother Gheeza was called Tulip by the same owners. The book was their story, kept secret from the world of their masters. The book was bound by Tellman, who had been from a long line of binders of prayer books for the people of the kingdom of Ethiopia.
A floorboard creaked somewhere in the rambling rooming house. I pushed the westerns and Mr. Amso’s book back into the shelf any way they would go, hugged the handmade book to my chest, and covered it with a pillow from the sofa. Then I hurried down the hall and up the stairs with the treasure clutched so tightly that my arms ached from the effort.
Once in my room I wedged a chair against the doorknob, remembering for a moment that I had done the same thing in Lance Wexler’s apartment. I turned on the overhead light and pored over the three hundred pages of animal skin that had been scrawled upon by more than a dozen hands. Now and then there were drawings of plantation houses and slave quarters, of agricultural machines and torture devices used on slaves. From 1781 to 1798 Moses, the only male diarist, also drew and painted pictures of his parents, grandparents, his wife and children. He entered twenty-three colorful pictures in all, and while they were crude there was still something poignant and dignified about the dark faces in their slave clothes and quarters.
The last entry was in 1847 by Abathwa, daughter of Elthren, daughter of Moses. All of these names were secret appellations given in private ceremonies when the masters were sleeping. On the last page Abathwa referred to another book that would be used to continue the memories of the kinfolk of Africa.
At first I thought that the book was some kind of fiction, that it was created by some artist, or more probably artists, trying to create a history out of the tragedy of slavery. But there was no questioning that the book was at least over a hundred years old. And there was no reason to doubt that it went all the way back to the eighteenth century as it claimed.
But what was it doing in a boardinghouse library in black L.A.?
It couldn’t belong to Miss Moore. She wouldn’t have left such a treasure in a public room. Maybe the house belonged to someone else, or maybe the previous owner had inherited the book from a long line that stretched all the way back to the ancient African kingdoms.
As the hours passed I put together what I felt was the probable history of the book. It was definitely an artifact from the days of slavery, though possibly not as old as it seemed. It had been passed down with subsequent volumes to some man or woman who came into possession of Miss Moore’s house earlier in the century. This man or woman had hidden the book and then grew old and senile. So the book sat there in its hiding place behind the ever-changing row of popular novels until I came upon it.
So if it wasn’t Miss Moore’s book then it was fair game for me.
It was nearly five in the morning when I closed the covers and still I hadn’t worked out ten solid pages of text. I imagined spending the next year in my little shop deciphering the entries of those long-ago slaves.