Tisso thought about it. “It means she can see through the world. And hear voices from far away.”
She looked at me to see if I knew what she was talking about. I nodded a little uncertainly.
“Gegemer hears dead people talking, sometimes. Or people who aren’t born yet. In the old women’s house, when they do the singing, Ennu-Amba Herself comes into her, and then she can walk all across the world and see what’s happened and what’s going to happen. You know, some of us do some of that kind of seeing and hearing while we’re children, but we don’t understand it. But if Amba makes a girl her daughter, then she goes on seeing and hearing all her life. It makes her kind of strange, you know.” Tisso pondered for a while. “She has to try to tell people what she saw. The men won’t even listen. They say only men can have the power of seeing and an ambamer is just a crazy woman. But Mother says that Gegemer Aytano saw the poison tide, when the people who eat shellfish in the Western Marshes got sick and died, a long time before it happened, when she was just a child… . And she knows when people in the village are going to die. That makes people afraid of her. Maybe it makes her afraid of them… .But sometimes she knows when a girl’s going to have a baby, too. I mean, even before she is. She said, ‘I saw your child laugh, Yenni,’ and Yenni cried and cried, she was so happy, because she wanted a child and she’d never got one. And a year later she did.”
All this gave me a great deal to think about. But it still didn’t answer my question. “I don’t know why my aunt doesn’t like me,” I said.
“I’ll tell you what Mother told me, if you won’t say anything to any of the other men,” Tisso said earnestly. I promised silence, and she told me. “Gegemer tried and tried to see what had happened to her sister Tano and her babies. For years she tried. They had singings for her that went on and on. She even took the drugs, and an ambamer shouldn’t take the drugs. But Amba wouldn’t let her see her sister or the children. And then—then you came walking into the village, and still she didn’t see you. She didn’t see who you were, until you said your name. Then everyone saw. She was ashamed. She thinks she did something wrong. She thinks Amba is punishing her because she let Tano go alone so far south. She thinks it was her fault the soldiers raped Tano and sold you and your sister. And she thinks you know this.”
I was about to protest, but Tisso forestalled me: “Your soul knows it—not your mind. It doesn’t matter what your mind doesn’t know, if your soul knows. So you are a reproach to Gegemer. You darken her heart.”
After a while I said, “That darkens my heart.” “I know,” Tisso said sadly.
It was strange how Tisso made me think of Sotur. Utterly different in everything, they were alike in their quickness to feel pity, to understand grief, and not to say too much about it.
I gave up the idea of trying to approach my aunt through her armor of guilt. I longed to learn more about her powers, and Tisso’s saying, “Some of us do that kind of seeing when we’re children,” had intrigued me. But the limits drawn around men’s knowledge and women’s knowledge were nearly as clear as the line separating the half villages. Tisso was uneasy about having said so much to me, and I could not press her further. None of the other girls would let me ask about “sacred stuff” at alclass="underline" they hooted like owls or yattered like kingfishers to drown me out—half alarmed at my transgression and half laughing at me for being, as they said, such a tadpole.
I was reluctant to ask the boys my age what they knew about these powers of seeing, I was different enough already, and talking about such things would only estrange me further. My uncle left all mysteries alone, seeking comfort only where it was easy to find. I didn’t know any of the older men well. Rava was the kindest, but he was an elder, an initiator of his clan, and spent much of his time in South Shore. There was only one man I thought might welcome my questions. Peroc was old, his thick hair quite white, his face seamed and drawn; he was crippled with rheumatism, and lived, I think, in pain. His arthritic hands were not good for much, but he laboriously knotted and mended fishing nets, and though he was slow at the work it was always done perfectly. He lived by himself in a tiny house with a couple of cats. He spoke little, but had a gentle manner. He was often too lame to go to the fish-mat, Tisso’s mother sent food for him, and I offered to take it to him. It became a regular thing that she’d give it to me and I’d take it and set it down on the old man’s deck and say, “From Lali Betu, Uncle Peroc.” We young men called all the old men uncle.
He’d be sitting in the sun if there was any sun, working at a net, or just gazing over the grasslands, humming. He’d thank me, and as soon as I turned away, the soft humming would begin again. Soon half-comprehensible words would enter into the tune, strange song words about the marsh lion, the lords of the fish, the heron king…. They were the only serious songs I had heard in Ferusi, the only ones that hinted at a story behind them. One day I put down his reed box of food and said, “From Lali Betu, Uncle Peroc,” and he thanked me, but I did not turn away; I stood by his deck and said, “Can I ask about the songs you sing, Uncle?”
He glanced up at me and back at his work, then laid the net down and looked at me steadily. “After the second initiation,” he said.
That was what I’d been afraid of. There was no arguing with the rules of the sacred. I said, “Anh,” But he saw I had a second question, and waited for it.
“Are all the stories sacred?”
He gazed at me a minute, thinking, and finally nodded. “Ao.” “So I may not listen to you sing?”
“Eng,” he said, the soft negative. “Later. When you’ve been to the king’s palace.” He looked at me with sympathy. “You’ll learn the songs there, as I did.”
“The heron king?”
He nodded, but murmured, “Eng, eng,” with a gesture to prevent my asking more. “Later,” he said. “Soon.”
“There are no stories that are not sacred?”
“Those the women and children tell. They are not fit for men.”
“But there are tales of heroes—like Hamneda, the great hero who wandered all the length of the Western Shore—”
Peroc gazed at me a while and shook his head. “He did not come here to the Marshes,” he said. And he bent to his work again.
So all my tales and poems remained closed up in my head, silent, as my copy of Caspro’s poem lay closed and wrapped in reedcloth in my uncle’s house, the only book in all Ferusi, unread.
I WAS FISHING by myself one day in spring; my uncle had gone netting with another man. Old Minki jumped into the boat as a matter of course and sat in the prow like a curly-eared figurehead, I put up the little sail and let the wind carry us slowly up the lake. I didn’t net but fished with the rod and line for ritta, a small bottom fish, sweet and succulent. The ritta were lazy and so was I. I gave up after a while and just sat in the boat, drifting. All around me was the silken blue water, and in the distance a few reed islands, and beyond them the low green shore, and far in the distance a blue hill…
So I had come round to the earliest and oldest of all my rememberings or visions, and was in the memory, the vision itself.
Remembering that, I began all at once to remember other things.
I remembered the streets of cities, the lights of houses crowded over a canal, the dark cobblestones of a steep street in the winter wind—there was the fountain in front of Arcamand and there was a tower over a harbor full of ships and there was a tall house with red rain-beaten walls—all in a rush and tumult of images, dozens of visions all crowded into one another and then sliding away, ungraspable, gone, leaving nothing but the blue sky and water, the low green shore and the distant hill, where I had been, where I had been all my life and was now again, this once, in this one moment.