Finally, she decides that her growing discomfort might have to do with the plastic that Miss Ruby meticulously wrapped around her limbs and torso. She makes her way back inside, takes it off, and slips a modest yellow dress over a tank top and a pair of shorts — since she has to wash her slip. She grabs her sketchpad and leaves, passing Grandma Merle, who is sitting stiff-necked on the wooden chair; and Miss Francis and Miss Louise, who wave. The hum of their voices washes her back. “Is where she going in di hot sun dressed like dat? Shouldn’t she be in school?”
She hurries along to the river, passing by the bathers who have their clothes spread out on the rocks. She makes her way to where the boats are tied up. The construction workers with their tools aren’t on site today. There is a sign that reads NO TRESPASSING on the beach right where Thandi used to play as a child, which was once an extension of River Bank. The hotels are building along the coastlines. Slowly but surely they are coming, like a dark sea. Little Bay, which used to be two towns over from River Bank, was the first to go. Just five years ago the people of Little Bay left in droves, forced out of their homes and into the streets. It was all over the news when it happened, since the people — out of anger — ended up blocking roads with planks and tires and burning them. In the past, developers would wait for landslides and other natural disasters to do their dirty work. But when tourism became the bread and butter for the island’s economy, the developers and the government alike became ravenous, indifferent. In retaliation, people stole concrete blocks and cement and zinc from the new developments to rebuild homes in other places, but their pilfering brought soldiers with rifles and tear gas. The developers won the fight, and the people scattered like roaches. Some came to River Bank begging to be taken in, some fled to other parishes. Those who could not bear the stress of uprooting all their belongings to start a new life roamed the streets and mumbled to themselves. It was as though their own land had turned on them — swallowed up their homes and livestock and produce and spat out the remains. By the time the workmen arrived in River Bank, Little Bay had been long forgotten.
There is no sound out here. Just the gentle lull of the sea and her heart beating in her eardrums when she sees Charles, sitting in his father’s fishing boat. He’s looking at the tranquil water where the river meets the ocean. He looks like he belongs in a painting, contemplating the blue of the water and the sky. Just above them, the coconut trees rustle in the wind, their fronds wavelike. Thandi looks up at the sky between the palm branches through which the sun plays a game of hide-and-seek. She sits on an abandoned crate underneath one of the trees and sketches Charles with his head tilted back in the face of the sun, careful with each line, her fingers wrapped around the pencil. His back is an elegant stretch of muscle. It takes her longer than usual to get it right, erasing shadows and drawing them over. Charles turns and catches her staring. “What yuh doing out here?” he asks above the gentle roar of the sea.
Embarrassed, Thandi fumbles to cover the drawing with her hands as if he can see them from where he sits. He gets up out of his father’s boat and walks over to her, his bare feet making footprints in the white sand. He’s wearing a pair of khaki trousers cut off at the knees, a faded green shirt slung over his right shoulder. Thandi inches closer to the tree as if it can hide her. She crosses and uncrosses her legs, pressing her sketchpad to her chest as she watches him look around for a crate to sit on. She sits up straight, unsure what posture she should assume. She’s afraid she might look too rigid this way. Too schoolgirlish. So she curves her back. Just a little. What would Margot do? Too many times Delores says to Thandi that she’s nothing like Margot. “Nothing like yuh sistah a’tall.” Thandi wonders if this is good or bad.
When Thandi was younger she used to observe her sister. Under the appraisal of men’s stares was the mysterious force that swayed Margot’s wide hips atop sturdy bow legs. When she passed them by, they would turn their heads, their eyes trained on those hips, their hands stroking their chins as though contemplating a plate of oxtail stew. “Wh’appen, sugah?” Brown sugar, or brownin’ for short. Margot never seemed uncomfortable, unlike Thandi, who shies away from such attention; Margot touched men frequently as she talked, her hand casually stroking their arm or chest. And when they said something, anything, Margot used to throw her head back and laugh a soft, titillating laugh that rippled through the air above the sounds of Gregory Isaacs, Beres Hammond, or Dennis Brown coming from the boom box at Dino’s. This caused the men to pause and observe the skin of her neck, the length of her lashes that swept her full cheeks as her eyes squinted with delight; lust filling their own eyes, like smoke from a ganja spliff. In Margot’s presence, a man would shout to his contenders amid the shuffling of dominoes, slamming his hand or his beer hard on the wooden table, “Anotha roun’!” Then, to Margot, “Watch me win nuh, sugah?” And Margot, gracious as she is, would decline, stroking the man’s arm. “Maybe next time, love.” The man would proceed to play his hand, smiling to himself as though he had already won.
When Charles approaches Thandi with a crate he’s found inside another abandoned boat, he’s grinning from ear to ear. He plops down in front of her, smelling like the salty air. Their knees touch but she doesn’t move hers away.
“So why yuh not in school?” he asks, his eyes gentle like the water with flecks of gold from the sun. She shrugs. She wonders what to tell him. What role should she play? Charles might like rude girls. Girls not afraid to raise their voices in the street. Girls who spar with grown men in the square, whom they let lift their skirts, slip their fingers inside. “Dis is a nice surprise,” he continues.
“What’s so surprising?” Thandi counters, immediately regretting that she forgot to mangle her words, chew them up, and spit them out in patois. She’s afraid she sounds too proper. But Charles doesn’t seem to mind.
“You neva strike me as a girl who would be out here jus’ like dat,” he says, regarding her face the way Brother Smith regards her paintings — with studied observation. “Yuh always to yuhself.”
“You don’t know me.”
“Yuh neva gimme a chance to.”
“So how would you know what I’m like?”
“I watch you. Like ah watch di sky.”
Thandi blushes.
“So tell me,” he says, cocking his head to one side. “What’s in dat book of yours?” he asks. “Don’t tell me is jus’ me yuh draw in it.” He’s leaning closer, his lips parted, his thick eyebrows raised. Behind him the water seems to rise, mounting the rocks.
Thandi squeezes her legs together. “You’re really full of yuhself to assume you’re my subject.”
“Ah wouldn’t say it if ah didn’t notice you staring wid it open on yuh lap.” Charles twists his mouth to the side like he’s sucking something from his teeth or trying not to laugh.