Around them, people began to clap. Not on the beat, but on the off-beat. They were starting to sway. Those women wearing skirts held them out and swirled them. The expression Jake saw on all the faces, oldest to youngest, was the same: pure joy. Not just that, he thought, and remembered a phrase his English teacher had used about how some books make us feel: the ecstasy of perfect recognition.

Sweat began to gleam on Roland’s face. He lowered his crossed arms and started clapping. When he did, the Calla- folkenbegan to chant one word over and over on the beat: “Come!…Come!…Come!…Come!” It occurred to Jake that this was the word some kids used for jizz, and he suddenly doubted if that was mere coincidence.

Of course it’s not. Like the black guy bopping to that same beat. It’s all the Beam, and it’s all nineteen.

“Come!…Come!…Come!”

Eddie and Susannah had joined in. Benny had joined in. Jake abandoned thought and did the same.

Eleven

In the end, Eddie had no real idea what the words to “The Rice Song” might have been. Not because of the dialect, not in Roland’s case, but because they spilled out too fast to follow. Once, on TV, he’d heard a tobacco auctioneer in South Carolina. This was like that. There were hard rhymes, soft rhymes, off-rhymes, even rape-rhymes—words that didn’t rhyme at all but were forced to for a moment within the borders of the song. It wasn’t a song, not really; it was like a chant, or some delirious streetcorner hip-hop. That was the closest Eddie could come. And all the while, Roland’s feet pounded out their entrancing rhythm on the boards; all the while the crowd clapped and chanted Come, come, come, come.

What Eddie could pick out went like this:

Come-come-commala

Rice come a-falla

I-sissa ’ay a-bralla

Dey come a-folla

Down come a-rivva

Or-i-za we kivva

Rice be a green-o

See all we seen-o

Seen-o the green-o

Come-come-commala!

Come-come-commala

Rice come a-falla

Deep inna walla

Grass come-commala

Under the sky-o

Grass green n high-o

Girl n her fella

Lie down togetha

They slippy ’ay slide-o

Under ’ay sky-o

Come-come-commala

Rice come a-falla!

At least three more verses followed these two. By then Eddie had lost track of the words, but he was pretty sure he got the idea: a young man and woman, planting both rice and children in the spring of the year. The song’s tempo, suicidally speedy to begin with, sped up and up until the words were nothing but a jargon-spew and the crowd was clapping so rapidly their hands were a blur. And the heels of Roland’s boots had disappeared entirely. Eddie would have said it was impossible for anyone to dance at that speed, especially after having consumed a heavy meal.

Slow down, Roland,he thought. It’s not like we can call 911 if you vapor-lock.