146
" Finally Bill Mixter would lower his head, lay his bow upon the strings, and draw out the first notes of a tune, and the others would come in behind him. The music, while it lasted, brought a new world into being. They would play some tunes they had learned on the radio, but their knowledge was far older than that and they played too the music that was native to the place, or that the people of the place were native to. Just the names of the tunes were a kind of music; they cal l back the music to my mind still, after so many years: " Sand Riffle," " Last Gold Dollar," " Billy in the Low Ground," " Gate to Go Through," and a lot of others. " A fiddle, now, is an atmospheric thing," said Burley Coulter. The music was another element filling the room and pouring out through the cracks. When at last they'd had their fill and had gone away, the shop felt empty, the silence larger than before. "
149
" I want to apologize to you,” she says calmly.“Oh yeah? For what?” I don’t have time for this. We don’t have time for this. I push away thoughts of what will happen to Hana even if I manage to escape. She’ll be here, in the house . . .My stomach is clenching and unclenching. I’m worried the bread will come straight back up. I have to stay focused. What happens to Hana isn’t my concern, and it isn’t my fault, either.“For telling the regulators about 37 Brooks,” she says. “For telling them about you and Alex.”Just like that, my brain powers down. “What?" “I told them.” She lets out a tiny exhalation, as though saying the words has given her relief. “I’m sorry. I was jealous.”I can’t speak. I’m swimming through a fog. “Jealous?” I manage to spit out.“I—I wanted what you had with Alex. I was confused. I didn’t understand what I was doing.” She shakes her head again.I have a swinging, seasick feeling. It doesn’t make any sense. Hana—golden girl Hana, my best friend, fearless and reckless. I trusted her. I loved her. “You were my best friend.”“I know.” Again she looks troubled, as though trying to recall the meaning of the words.“You had everything.” I can’t stop my voice from rising. The anger is vibrating, ripping through me like a live current. “Perfect life. Perfect grades. Everything.” I gesture to the spotless kitchen, to the sunshine pouring over the marble counters like drizzled butter. “I had nothing. He was my one thing. My only—” The sickness surges up and I take a step forward, clenching my fists, blind with rage. “Why couldn’t you let me have it? Why did you have to take it? Why did you always take everything? "
152
" It was still, at the root, the same dance: the same two bodies, connecting, gliding together, two aching souls reaching for each other and finding more than could be told. And then, in the fourth song, or maybe it was the fifth, they switched roles, without speaking, their bodies deciding, hands moving from waist to shoulder or shoulder to waist and pouring the dance in the opposite direction, which was, they discovered, not an opposite at all but a continuation of the very same dance, the same essential language of the body, of two bodies wishing to be one, forming a kinetic poem out of longing. "
― Carolina De Robertis , The Gods of Tango
157
" Again burst out that chant McKay had heard as he had floated through the mists upon the lake. Now, as then, despite his opened ears, he could distinguish no words, but clearly he understood its mingled themes - the joy of Spring's awakening, rebirth, with the green life streaming singing up through every bough, swelling the buds, burgeoning with tender leaves the branches; the dance of the trees in the scented winds of Spring; the drums of the jubilant rain on leafy hoods; passion of Summer sun pouring its golden flood down upon the trees; the moon passing with stately step and slow and green hands stretching up to her and drawing from her breast milk of silver fire; riot of wild gay winds with their mad pipings and strummings; - soft interlacing of boughs, the kiss of amorous leaves - all these and more, much more that McKay could not understand for it dealt with hidden, secret things for which man has no images.(" The Women Of The Woods" ) "
160
" Why, observe the thing; turn it over; hold it up to the window; count the beads, long, oval, like some seaweed bulbs, each an amulet. See the tint; it's very old; like clots of sunshine, aren't they? Now bring it near; see the carving, here corrugated, there faceted, now sculptured into hideous, tiny, heathen gods. You didn't notice that before! How difficult it must have been, when amber is so friable! Here's one with a chessboard on his back, and all his kings and queens and pawns slung round him. Here's another with a torch, a flaming torch, its fire pouring out inverted. They are grotesque enough; but this, this is matchless: such a miniature woman, one hand grasping the round rock behind, while she looks down into some gulf, perhaps, beneath, and will let herself fall. 0, you should see her with a magnifying-glass! You want to think of calm satisfying death, a mere exhalation, a voluntary slipping into another element? There it is for you. They are all gods and goddesses. They are all here but one; I've lost one, the knot of all, the love of the thing.
Well! Wasn't it queer for a Catholic girl to have at prayer? "
― Harriet Prescott Spofford , The Amber Gods and Other Stories