“Are you ready?” he asked her.
“Yes.” When he lifted her she groaned, so he paused, but she tapped at his arm to keep them moving. “We have to go,” she said, her voice barely above a whisper. “We have to go right now.”
Hector carried her down the tight dark turns of the tower stairs, making sure of his footfalls on the slick, worn stone treads. He’d already half-tripped back on the threshold, just barely regaining his balance, though he’d accidentally bit his own tongue. He was stepping as lightly and carefully as he could and yet the descent for her seemed an agony, her hand gripping the hair at the back of his head, squeezing the strands between her fingers in time to each step. The bath had only sped her ruin. In his arms her body was warm and damp, but she didn’t smell quite right, not off or spoiled, but rather like she’d been mostly rendered away, or diluted, like the faintest trace of blood or flesh that lingered even after he’d disinfected and scrubbed and hosed off a canvas litter during the war, somebody’s clinging half-life. She was already a presence residual. When they reached the empty lobby the hotel proprietor put down the book he was reading and instinctively moved to aid them but he stopped at the end of the bar when he got a good look at her, his head solemnly dipping as they passed. Outside, they crossed the street and mounted the wide pea gravel path that led up the hill, the dark sentinels of the cypress trees marking either side.
“I can’t see,” she said.
He turned to walk sideways so she might have a better angle on the church but when he looked down into her eyes they were dull and black, inkier still for the soft, late daylight, her pupils straining to hold off a welling darkness that was not apparent to Hector but that was falling more swiftly than the evening.
“I can’t see.”
Hector quickened his pace. Her face was turning a watery shade. She felt heavier now, taking on that weight. All his life he was present at such ends and yet each time it filled him with a raw astonishment. He felt himself begin to cave with panic. And a realization: he did not want to watch her die. He did not want to have to stoke her fire. He would stoke his own but no one else’s. Had he the power to save her he would do so, he would trade places with her, let her go on, if she wished, for the rest of time.
“Wait,” she said. “Wait.”
He stopped. He had reached the plateau of ground before the shallow steps of the entrance. One of the double doors was open. But she was not addressing him. She was craning at the sky, her eyes unfixed. She was almost gone.
She murmured: “Not yet.”
“It’s okay,” he said, suddenly drawn forth. There was a strange gleam in the church. He took her inside. Between the entrance and the altar the space was completely open; there were no pews in this church. And somehow it was illuminated, somehow it was brighter than outside, the sunbeams stealing in through the side windows at a last, impossible angle. For the moment everything was awash in a light pewter shade, this rubbed, high-burnished grayness, a hue, he realized, long known to him. On top of the white marble altar stood an immense wooden cross, as severe and plain as the one he had once made, the vault above it rising more than twenty-five feet. How was he here again? And it was now that he recognized the patterning of the circular walls of the chancel, the odd mottle of its ornamentation. It was not fresco or fabric or artful intaglio. It was the most basic design. What Hector perhaps understood best in the end: an array of bones.
They were not entombed as he’d expected but rather on open display. Behind the altar, at a subterranean level, open to view, were built-in shelves stocked tight with the bones. They were arranged by kind-piles of femurs and tibias, nested pelvises and jaws. There were bins full of the smaller bones of the feet, of the hands, like countless pieces of chalk. Many bundles of ribs. Then, rising to the cornice of the vaulting, even stacked above it, were rows upon rows of skulls. There were hundreds of them, if not a thousand, all neatly lined up, one beside the next, like some vast, horrid hat shop. Some of the skulls had jagged holes punched out of their temples, blown out from their crowns; some were smashed through at the cheek, at the nose. Missing a brow. But he saw that most of them were touched only by time, their color bleached or tinged pink with rust or a moldering gray. He could not picture their pristine faces save by the distinctive set of their teeth, crooked and straight, protruding and curved. All the grinning, grimacing dead. Hector grimaced back, his own teeth tasting of iron and blood.
“Are we inside?” June murmured, her eyes shiny pieces of coal. “Are we here?”
He said yes.
“It must be beautiful. Is it beautiful?”
It is beautiful, he whispered, not hearing his own voice. This is our place.
NOT YET.
She was running for the train. The very last car. It was moving away from her, it seemed, at an insurmountable speed. Voices were calling for her to run. Run. Not to give up. She had no shoes on her feet-when had they fallen off?-and the ground beside the tracks was gravelly and sharp. Laced with burrs and prickly weeds. But she had no mind for the pain that had taken her over now. Her legs were working, straining, madly pumping beneath her like pistons, pushing her to make this brief sprint she had been running the whole of her life. She could not look back. She loved them all but she knew if she looked back she was done. She would come to a stop. And she did not want to stop, not just yet. Not now. To crave anything, alas, is to crave time. She was simply hungry for more. The wheels of the last car squealed and flashed; it was accelerating, about to pull away. In defiance she leaned forward and cried out, suspending her breath, and reached for the dark edge of the door. The world fell away. Someone had pulled her up. Borne her in. She was off her feet, alive.
Acknowledgements
THE AUTHOR GRATEFULLY acknowledges the support of several institutions during the writing of this book: the Punahou School in Honolulu; the American Academy in Rome; and the Lewis Center for the Arts at Princeton University.
Chang-Rae Lee
Chang-Rae Lee (born July 29, 1965) is a first-generation Korean American novelist.
Lee was born in Korea in 1965. He emigrated to the United States with his family when he was 3 years old. Raised in Westchester, New York, Lee attended Phillips Exeter Academy in Exeter, New Hampshire. He graduated from Yale University with a degree in English and from the University of Oregon with a MFA in writing. He worked as a Wall Street financial analyst for a year before turning to writing full time. Lee teaches writing at Princeton University, where he has served as the director of Princeton 's Program in Creative Writing.
