“I never really thought that was fair. Men rent tuxedos, but women have to buy their formal wear. It’s like haircuts. Your hair isn’t that much longer than mine, but I bet you pay three times as much to get it cut.”
“Actually I go to a barber who cuts it for seven-fifty.” I grinned as Morrison shot me a look comprised equal parts of astonishment and impressed-ness. “What? I’ve been going to him since college. I’m not going to pay fifty dollars for a haircut, and if he screws up, which he never has, hair’s not like a leg. It grows back.”
“So it does.” He took the program back from me—at least I was only bending it, not chewing on it—and flipped through it without really looking. “Know anything about this group?”
“Just what I read on their website. Native American group on tour, doing a kind of ghost dance. Supposed to be pretty uplifting.”
“You, ah…” Morrison, who had been doing so well at the casual conversation thing I’d mostly forgotten to be an idiot, lost his cool with a cautious glance toward me.
All of a sudden I wondered how much of how he was acting was just that—an act—to give me a comparatively stable evening after a bad day. It was a depressing thought, and I seized on his failure to finish a sentence a little desperately, just to keep the conversation going. “Me ah what?”
“Is the ghost dance something you’re familiar with?”
Half a dozen answers, ranging from amused to annoyed, vied for a chance to answer that. I went with dry academia, mostly because I didn’t think Morrison expected it. “The ghost dance was invented in the late 1880s by a spiritual leader who’d had a vision. It caught on and spread around the western U.S. for a while. It’s supposed to help assure worldly happiness and make the time until you see your dearly departed again seem less awful.”
Morrison’s eyes widened in respect, at which point I couldn’t keep a straight face anymore. “Sorry. I only know any of this because they had an article about it on their website this afternoon. It’s not automagic shamanistic mojo knowledge.”
“Automagic?”
“Matic. Automatic. Anyway,” I said a little too loudly, particularly in view of the fact that the lights were dimming and everybody was settling into their seats and into silence to await the performance. A few people looked around at me and I covered my face with one hand, mumbling, “Anyway, it’s just research, nothing strange,” into my palm.
Morrison murmured, “Just as well,” and pulled my hand down so I was watching when the lights slammed up and movement exploded across the stage.
A woman garbed in gold literally flew on. Her costume trailed glittering feathers from the arms, her body arched forward like a bird facing the wind. There were no wires, though the height and length of her leap said there had to be: I couldn’t imagine how anyone might have thrown her so far. She was caught by two men who appeared from the wings at the last possible moment, eliciting a gasp from the audience. With no recovery time at all, they flung her skyward again, back across the stage, and the theater’s silence was filled with an eagle’s call.
Every hair on my body stood up and I shuddered violently, thrown viscerally into memory. She was the thunderbird, the giant golden eagle, enemy of the serpent and an archetypical character of Native American mythology. I had, months ago, been briefly claimed by a thunderbird. This woman’s dance, her freedom of spirit and her raw unadulterated strength, her utter confidence in herself and in the men—four, now—who threw her across the stage and captured her safely again, embodied the power and certainty the mythical beast had imbued me with.
There was no music, even as the dance progressed, only the eagle’s cry and a sometimes lonely howl of wind that matched her fall or rise as her partners gave her wings. A fifth man came onstage, sinuous, winding, dangerous. Panic struck me through the heart, knowing what would come next. They fought, the thunderbird and the serpent, and in the end died together, tangled in eternity. I was on the edge of my seat by then, fingers digging into the seat-back in front of me, and when the drums began for the next piece, I was lost.
None of the dances were entirely traditional Native American. They all incorporated Western dance styles, throws and leaps and lifts mixed with atonal harmonies and storytelling hands, but it resonated. The drums themselves could have carried me to another world—I had one myself, which had been given to me with the express purpose of doing just that—but the dancers brought it to another level, generating so much energy I could feel it buzzing against my skin. I kept my vision resolutely in this world. I could easily have watched their auras, watched the auditorium fill with the power they were dancing up, but I wanted to see them, to revel in the beauty of humanity in motion. I could get tickets to another performance and watch them on a mystical level then, if I wanted to.
A wonderful formality came over them as they began the last dance. They came out of the wings in costumes unlike any they’d worn yet, five of them painted and dressed as totem poles, with another five in black and the final five wearing ferocious animal face paint and wigs. Bear, raven, coyote, rabbit, whale, dancing and weaving together with foot-stomping excitement. My heart raced like I was up there myself, putting everything I had into the performance as I watched them dance the story of a single man who came into the spirit world and learned the ways of the beasts. The rabbit taught him speed, the bear, strength. The coyote taught him cleverness and the raven taught him joy, and the smiling whale oversaw wisdom. He took it all into him self, and the totems grew taller, the masked dancers astride the shoulders of their black-clad partners, and the totems in front of them to make the illusion of height and continuity. Energy poured from them, virtually lighting the theater even without the benefit of my second Sight turned on.
Then the solitary dancer went to each of the totems, and was blessed by them, taking on their aspect. I couldn’t explain how he did it, but he became the bear when the bear totem touched his head: he filled with strength and size and danced a bear dance across the stage, catching salmon and eating berries and slumbering through winter before the raven touched him, and he became a creature of sky and scavenging and sledding on snow. He—they—were astonishing, transforming with each touch, and in doing so giving honor to the world that man had come from, and so often ignored. My chest ached with breathless tears, with admiration for their skill and with joy for the strength they offered to the audience. It seemed impossible that anyone should watch their performance and be unmoved.
And I was right, because as the lights came down, the audience surged to its feet, shouting, clapping, whistling, stomping their feet. Everyone around me except Morrison and myself, because he caught my shoulder as I started to stand, and kept me in my seat with an urgently whispered, “Walker!”
Bewildered, I turned to him with a protest forming, but he caught my wrist and yanked my hand up, putting it in my line of vision.
Putting a clearly defined coyote’s paw in my line of vision.
CHAPTER FIVE
My yelp was drowned beneath the cheering and applause from those around us. Just as welclass="underline" it sounded suspiciously like a coyote’s cry. I yanked my hand from Morrison’s grip to press it against my throat.
It felt like my hand. It felt perfectly normal, aside from the residual power of the dance still playing my skin. Morrison, wearing the most stricken expression I’d ever seen, shrugged out of his tuxedo jacket and draped it around my shoulders, hiding my entire torso. Hiding my paws. I thrust a foot out to stare at it, but my legs were unaltered. Just ordinary human feet in expensive sandals.