Chapters (49)
- Cover
- Title Page
- Copyright Notice
- Dedication
- 1. “Morning Song”
- 2. “The Couriers”
- 3. “The Rabbit Catcher”
- 4. “Thalidomide”
- 5. “The Applicant”
- 6. “Barren Woman”
- 7. “Lady Lazarus”
- 8. “Tulips”
- 9. “A Secret”
- 10. “The Jailor”
- 11. “Cut”
- 12. “Elm”
- 13. “The Night Dances”
- 14. “The Detective”
- 15. “Ariel”
- 16. “Death & Co.”
- 17. “Magi”
- 18. “Lesbos”
- 19. “The Other”
- 20. “Stopped Dead”
- 21. “Poppies in October”
- 22. “The Courage of Shutting-Up”
- 23. “Nick and the Candlestick”
- 24. “Berck-Plage”
- 25. “Gulliver”
- 26. “Getting There”
- 27. “Medusa”
- 28. “Purdah”
- 29. “The Moon and the Yew Tree”
- 30. “A Birthday Present”
- 31. “Letter in November”
- 32. “Amnesiac”
- 33. “The Rival”
- 34. “Daddy”
- 35. “You’re”
- 36. “Fever 103°”
- 37. “The Bee Meeting”
- 38. “The Arrival of the Bee Box”
- 39. “Stings”
- 40. “The Swarm”
- 41. “Wintering”
- Postscript
- Author’s Note
- Acknowledgments and Permissions
- Also by Kate Moses
All that is left of his flesh pools into the satiny cushions of the coffin, his nose flinty and steep, his eyes like currants baked into a fallen cake. His wife has had him set up for viewing in the parlor in front of his telly, that dead, too. The villagers troop by to gawk at the corpse, holding their hats as they shove close to the box. So lifelike, they yawp to the widow. They gabble with sock-puppet sincerity; they trade recipes. Rose has colored her hair. Sylvia slides her eyes over Percy’s dead face: the powder that chinks his wrinkles, the book wedged under his chin to keep his mouth shut. So lifelike, she nods, as she backs out the door.
Already the mattress has been slumped down the staircase and tumbled outside to air; it lists in defeat against the cottage wall. A freshly laundered sheet flaps at the window like an escapee. Parakeets hang from a hook in the doorway, whistling and butting their bells, bobbing their senseless cucumber heads.
* * *
Sylvia cleans. She paints and weeds and mends. She scrubs, echoing through her house, her yard, in wet-kneed pants, alert to signs of corruption, wary of anything frayed or soured or askew. She drags the ash cans, freighted with grass clippings, out to the lane.
She glues the shredded edges of the wallpaper in the parlor. She washes every window in the house, sunk with age in their wormy casements. She hangs garlic in a braid along the mahogany sideboard in the kitchen, a dented horseshoe in the back hall. She throws netting over the ripening cherries, cushions the melon vines with hay. She whitewashes her children’s furniture, trims it with small painted hearts. She sends for more of the pink memo paper from Smith, her covert fetish, its pages stiff like the face of a shield.
Workers have cemented the playroom floor, sealed off the cold stones from inside. Still she knows they are there: the stones that never change. Under her house, muttering below the linoleum. She puts down a rug; she hears nothing. She hems the checkerboard curtains and pulls them shut.
* * *
Hearts on the sewing machine, hearts on the beehive. Little painted hearts, sometimes flowers and leaves or a bird. On the trestle table in the playroom. On the piano. On Frieda’s little rocker, on the doll bed made by Ted. Pink hearts a tripwire over the doorways. Hearts on the mirror in the hallway. Hearts and a garland on the baby’s cradle.