In the Skin of a Lion Page 4

  He rises with the traveller from the lower level, calling out numbers to the driver above him through the fog, alongside the clattering of the woodwork he holds onto, the creaks and bends of the lattice drowning out his call of one – two – three – four which is the only language he uses. He was doing this once when a traveller collapsed at night – the whole structure – the rope shredding around him. He let go, swinging into the darkness, anywhere that might be free of the fifteen tons of falling timber which crashed onto the lower level and then tumbled down into the valley, rattling and banging in space like a trolley full of metal. And on the far end of the swing, he knew he had escaped the timber, but not necessarily the arm-thick wires that were now uncoiling free, snaking powerfully in every direction through the air. On his return swing he curled into a ball to avoid them, hearing the wires whip laterally as they completed the energy of the break. His predecessor had been killed in a similar accident, cut, the upper half of his body found an hour later, still hanging in the halter.

  By eight A.M. the fog is burned up and the men have already been working for over two hours. A smell of tar descends to Nicholas as workers somewhere pour and begin to iron it level. He hangs waiting for the whistle that announces the next journey of the traveller. Below him is the Don River, the Grand Trunk, the CN and CP railway tracks, and Rosedale Valley Road. He can see the houses and work shacks, the beautiful wooden sheeting of the abutment which looks like a revival tent. Wind dries the sweat on him. He talks in English to himself.

  She takes the first step out of the Ohrida Lake Restaurant into the blue corridor – the narrow blue lane of light that leads to the street. What she will become she becomes in that minute before she is outside, before she steps into the six-A.M. morning. The parrot Alicia regards her departure and then turns its attention back to the man asleep in the chair, one arm on the table, palm facing up as if awaiting donations, his head against the wall beside a crest. He is in darkness now, the open palm callused and hard. Five years earlier or ten years into the future the woman would have smelled the flour in his hair, his body having slept next to the dough, curling around it so his heat would make it rise. But now it was the hardness of his hands, the sound of them she would remember like wood against glass.

  Commissioner Harris never speaks to Nicholas Temelcoff but watches often as he hooks up and walks at the viaduct edge listening to the engineer Taylor’s various instructions. He appears abstracted but Harris knows he listens carefully. Nicholas never catches anyone’s eye, as if he must hear the orders nakedly without seeing a face around the words.

  His eyes hook to objects. Wood, a railing, a rope clip. He eats his sandwiches without looking at them, watching instead a man attaching a pulley to the elevated railings or studying the expensive leather on the shoes of the architects. He drinks water from a corked green bottle and his eyes are focused a hundred feet away. He never realizes how often he is watched by others. He has no clue that his gestures are extreme. He has no portrait of himself. So he appears to Harris and the others as a boy: say, a fanatic about toy cars, some stage they all passed through years ago.

  Nicholas strides the parapet looking sideways at the loops of rope and then, without pausing, steps into the clear air. Now there is for Harris nothing to see but the fizzing rope, a quick slither. Nicholas stops twenty feet down with a thud against his heart. Sometimes on the work deck they will hear him slowly begin to sing various songs, breaking down syllables and walking around them as if laying the clauses out like tackle on a pavement to be checked for worthiness, picking up one he fancies for a moment then replacing it with another. As with sight, because Nicholas does not listen to most conversations around him, he assumes no one hears him.

  For Nicholas language is much more difficult than what he does in space. He loves his new language, the terrible barriers of it. “ ‘Does she love me? – Absolutely! Do I love her? – Positively!’ ” Nicholas sings out to the forty-foot pipe he ferries across the air towards the traveller. He knows Harris. He knows Harris by the time it takes him to walk the sixty-four feet six inches from sidewalk to sidewalk on the bridge and by his expensive tweed coat that cost more than the combined weeks’ salaries of five bridge workers.

  The event that will light the way for immigration in North America is the talking picture. The silent film brings nothing but entertainment – a pie in the face, a fop being dragged by a bear out of a department store – all events governed by fate and timing, not language and argument. The tramp never changes the opinion of the policeman. The truncheon swings, the tramp scuttles through a corner window and disturbs the fat lady’s ablutions. These comedies are nightmares. The audience emits horrified laughter as Chaplin, blindfolded, rollerskates near the edge of the unbalconied mezzanine. No one shouts to warn him. He cannot talk or listen. North America is still without language, gestures and work and bloodlines are the only currency.

  But it was a spell of language that brought Nicholas here, arriving in Canada without a passport in 1914, a great journey made in silence. Hanging under the bridge, he describes the adventure to himself, just as he was told a fairy tale of Upper America by those who returned to the Macedonian villages, those first travellers who were the judas goats to the west.

  Daniel Stoyanoff had tempted them all. In North America everything was rich and dangerous. You went in as a sojourner and came back wealthy – Daniel buying a farm with the compensation he had received for losing an arm during an accident in a meat factory. Laughing about it! Banging his other hand down hard onto the table and wheezing with laughter, calling them all fools, sheep! As if his arm had been a dry cow he had fooled the Canadians with.

  Nicholas had been stunned by the simplicity of the contract. He could see Stoyanoff’s body livid on the killing floor – standing in two inches of cow blood, screaming like nothing as much as cattle, his arm gone, his balance gone. He had returned to the village of Oschima, his sleeve flapping like a scarf, and with cash for the land. He had looked for a wife with two arms and settled down.

  In ten years Daniel Stoyanoff had bored everyone in the village with his tall tales and he couldn’t wait for children to grow up and become articulate so he could thrill them with his sojourner’s story of Upper America. What Daniel told them was that he had in fact lost both arms in the accident, but he happened to be rooming with a tailor who was out of work and who had been, luckily, on the killing floors of Schnaufer’s that morning. Dedora the tailor had pulled gut out of a passing cat, stitched Daniel’s right arm back on, and then turned for the other but a scrap dog had run off with it, one of those dogs that lounged by the doorway. Whenever you looked up from cutting and slicing the carcasses you would see them, whenever you left work at the end of the day in your blood-soaked overalls and boots they followed you, licking and chewing your cuffs.

  Stoyanoff’s story was told to all children of the region at a certain age and he became a hero to them. Look, he would say stripping off his shirt in the Oschima high street, irritating the customers of Petroff’s outdoor bar once more, look at what a good tailor Dedora was – no hint of stitches. He drew an imaginary line around his good shoulder and the kids brought their eyes up close, then went over to his other shoulder and saw the alternative, the grotesque stump.

  Nicholas was twenty-five years old when war in the Balkans began. After his village was burned he left with three friends on horseback. They rode one day and a whole night and another day down to Trikala, carrying food and a sack of clothes. Then they jumped on a train that was bound for Athens. Nicholas had a fever, he was delirious, needing air in the thick smoky compartments, wanting to climb up onto the roof. In Greece they bribed the captain of a boat a napoleon each to carry them over to Trieste. By now they all had fevers. They slept in the basement of a deserted factory, doing nothing, just trying to keep warm. There had to be no hint of illness before trying to get into Switzerland. They were six or seven days in the factory basement, unaware of time. One almost died from the hig
h fevers. They slept embracing each other to keep warm. They talked about Daniel Stoyanoff’s America.

  On the train the Swiss doctor examined everyone’s eyes and let the four friends continue over the border. They were in France. In Le Havre they spoke to the captain of an old boat that carried animals. It was travelling to New Brunswick.

  Two of Nicholas’ friends died on the trip. An Italian showed him how to drink blood in the animal pens to keep strong. It was a French boat called La Siciliana. He still remembered the name, remembered landing in Saint John and everyone thinking how primitive it looked. How primitive Canada was. They had to walk half a mile to the station where they were to be examined. They took whatever they needed from the sacks of the two who had died and walked towards Canada.

  Their boat had been so filthy they were covered with lice. The steerage passengers put down their baggage by the outdoor taps near the toilets. They stripped naked and stood in front of their partners as if looking into a mirror. They began to remove the lice from each other and washed the dirt off with cold water and a cloth, working down the body. It was late November. They put on their clothes and went into the Customs sheds.

  Nicholas had no passport, he could not speak a word of English. He had ten napoleons which he showed them to explain he wouldn’t be dependent. They let him through. He was in Upper America.

  He took a train for Toronto where there were many from his village; he would not be among strangers. But there was no work. So he took a train north to Copper Cliff, near Sudbury, and worked there in a Macedonian bakery. He was paid seven dollars a month with food and sleeping quarters. After six months he went to Sault Ste. Marie. He still could hardly speak English and decided to go to school, working nights in another Macedonian bakery. If he did not learn the language he would be lost.

  The school was free. The children in the class were ten years old and he was twenty-six. He used to get up at two in the morning and make dough and bake till 8:30. At nine he would go to school. The teachers were all young ladies and were very good people. During this time in the Sault he had translation dreams – because of his fast and obsessive studying of English. In the dreams trees changed not just their names but their looks and character. Men started answering in falsettos. Dogs spoke out fast to him as they passed him on the street.

  When he returned to Toronto all he needed was a voice for all this language. Most immigrants learned their English from recorded songs or, until the talkies came, through mimicking actors on stage. It was a common habit to select one actor and follow him throughout his career, annoyed when he was given a small part, and seeing each of his plays as often as possible – sometimes as often as ten times during a run. Usually by the end of an east-end production at the Fox or Parrot Theatres the actors’ speeches would be followed by growing echoes as Macedonians, Finns, and Greeks repeated the phrases after a half-second pause, trying to get the pronunciation right.

  This infuriated the actors, especially when a line such as “Who put the stove in the living room, Kristin?” – which had originally brought the house down – was now spoken simultaneously by at least seventy people and so tended to lose its spontaneity. When the matinee idol Wayne Burnett dropped dead during a performance, a Sicilian butcher took over, knowing his lines and his blocking meticulously, and money did not have to be refunded.

  Certain actors were popular because they spoke slowly. Lethargic ballads, and a kind of blues where the first line of a verse is repeated three times, were in great demand. Sojourners walked out of their accent into regional American voices. Nicholas, unfortunately, would later chose Fats Waller as his model and so his emphasis on usually unnoticed syllables and the throwaway lines made him seem high-strung or dangerously anti-social or too loving.

  But during the time he worked on the bridge, he was seen as a recluse. He would begin sentences in his new language, mutter, and walk away. He became a vault of secrets and memories. Privacy was the only weight he carried. None of his cohorts really knew him. This man, awkward in groups, would walk off and leave strange clues about himself, like a dog’s footprints on the snowed roof of a garage.

  Hugh! A doctor attending his arm, this is what woke him, brought him out of his dream. Hah! It was six hours since he had fallen asleep. Kosta was there. He saw that the veil and his shirt had been cut open by the doctor. Somehow, they said, he had managed to get his arm back into the socket.

  He jerked his hand to the veil, looking at it closely.

  She had stayed until Kosta came down in the early morning. She talked to him about the arm, to get a doctor, she had to leave. She spoke? Yes yes. What did she sound like? Hah? What more did Kosta know about her? He mentioned her black skirt. Before he left, Nicholas looked around the bar and found strips of the black habit she had cut away to make a skirt for the street.

  When he walks into the fresh air outside the Ohrida Lake Restaurant, on the morning after the accident on the bridge, he sees the landscape as something altered, no longer so familiar that it is invisible to him. Nicholas Temelcoff walks now seeing Parliament Street from the point of view of the woman – who had looked through his belt-satchel while he slept, found his wide wire shears, and used them to cut away the black lengths of her habit. When he walks out of the Ohrida Lake Restaurant that morning it is her weather he grows aware of. He knows he will find her.

  There are long courtships which are performed in absence. This one is built perhaps on his remark about her hair or her almost-silent question as he was falling off some tower or bridge into sleep. The verge of sleep was always terrifying to Nicholas so he would drink himself into it blunting out the seconds of pure fear when he could not use his arms, would lie there knowing he’d witness the half-second fall before sleep, the fear of it greater than anything he felt on the viaduct or any task he carried out for the Dominion Bridge Company.

  As he fell, he remembers later, he felt a woman’s arm reaching for him, curious about his name.

  He is aware of her now, the twin. What holds them together is not the act which saved her life but those moments since. The lost song on the radio. His offhand and relaxed flattery to a nun with regard to her beauty. Then he had leaned his head back, closed his eyes for too long, and slept.

  A week later he rejoins the flatbed truck that carries the tar and fire, jumps on with the other men, and is back working at the bridge. His arm healed, he swings from Pier D to Pier C, ignores the stories he hears of the nun who disappeared. He lies supine on the end of his tether looking up towards the struts of the bridge, pivoting slowly. He knows the panorama of the valley better than any engineer. Like a bird. Better than Edmund Burke, the bridge’s architect, or Harris, better than the surveyors of 1912 when they worked blind through the bush. The panorama revolves with him and he hangs in this long silent courtship, her absence making him look everywhere.

  In a year he will open up a bakery with the money he has saved. He releases the catch on the pulley and slides free of the bridge.

  THE SEARCHER

  PATRICK LEWIS arrived in the city of Toronto as if it were land after years at sea. Growing up in the country had governed his childhood: the small village of Bellrock, the highway of river down which the log drivers came, drinking, working raucous, and in the spring leaving the inhabitants shocked within the silence. Now, at twenty-one, he had been drawn out from that small town like a piece of metal and dropped under the vast arches of Union Station to begin his life once more. He owned nothing, had scarcely any money. There was a piece of feldspar in his pocket that his fingers had stumbled over during the train journey. He was an immigrant to the city.

  What remained in Patrick from his childhood were letters frozen inside mailboxes after ice storms. What he remembered was loving only things to do with colour, hating the whiteness, stepping into the warm brown universe of barns, the breath and steam of cattle rolling out, the acrid shit and urine he could summon up even now in the heart of Toronto. The smell had paraded grandly over his first seduc
tion in a hay bed, the angry girl slapping him when both were full and guilty. What he remembered was frozen laundry, carrying overalls like a body into the kitchen and seating them in a chair, hoping his father would see them before they melted and lolled over the table.

  Then summer. Blackflies and mosquitoes. Leaping not into hay but into the black underwater colour of creek, walking naked to the farmhouse, chewing rhubarb, clothes under one arm. You bit the glossy skin of the raw rhubarb and ripped its fibres open and sucked the flavour out. You put the smallest pellet of raspberry onto your tongue and opened it delicately with your teeth. You stood in a field on a hot day obsessed with this precise taste.

  Now, in the city, he was new even to himself, the past locked away. He saw his image in the glass of telephone booths. He ran his hands over the smooth pink marble pillars that reached up into the rotunda. This train station was a palace, its niches and caverns an intimate city. He could be shaved, eat a meal, or have his shoes coloured.

  He saw a man with three suitcases, well-dressed, shouting out in another language. The man’s eyes burned through everyone who at first received his scream personally. But the phrases were for angels in the air to assist him or for demons to leave him. Two days later Patrick returned to pick up his luggage from a locker. He saw the man again, still unable to move from his safe zone, in a different suit, as if one step away was the quicksand of the new world.