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Product Details
| ISBN-13: | 9781742194653 |
|---|---|
| Publisher: | Spinifex Press |
| Publication date: | 09/01/2004 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 265 |
| File size: | 435 KB |
About the Author
Read an Excerpt
The Skeleton Woman
A Romance
By Renée
Spinifex Press Pty Ltd
Copyright © 2002 RenéeAll rights reserved.
ISBN: 978-1-74219-465-3
CHAPTER 1
It's that edgy time just before the equinoctial gales slash all the weeping cherry blossoms to smithereens and break the hearts of the early irises. Usually people in the Hutt would be moaning about those damn blackbirds fossicking in their newly weeded flower gardens and throwing soil all over their paths. They would remark how last year the strong winds sculpted the river into quite high waves and wonder if the same thing would happen this year. In supermarket aisles they would recollect other edgy springs, other blackbirds, other high tides. But not this Friday. Not this spring. This Friday there's not a lot of talk over the trolleys. The black planes cutting off the tops of the black towers have taken over people's eyes and throats. The thought of those poor people in the planes, those in the New York Disaster and those who died in a Pennsylvanian field or at the Pentagon. There doesn't seem much point in drawing attention to blackbirds or high tides when five thousand people are said to have died in the towers, when people in wheelchairs had to be left by the able-bodied because the lifts weren't working and there was no time to steer a wheelchair down the flights and flights of stairs. People in New York streets gasp and weep over small black figures falling out of windows and the sight of firemen injured and bloody, going back into the chaos. People in the Hutt Valley gasp and weep too, remembering other tragedies, other heartaches. This is too big, too much. The images play on, over and over, as though if they're repeated enough times the world might actually get a grip on it. At the fringes of their consciousness in the Hutt Valley they hear the sound of tapping. 'Oh,' they say, gratefully, 'wind's getting up.' Tap, tap go the bony feet of the Skeleton Woman, tap tap, tap tap, as everyone's life changes forever.
On that blustery Friday, early evening, Rose Anthony reaches into a cupboard in her kitchen, grabs the gin bottle and a glass, deliberately moves her thoughts away from black planes and black towers against a blue, blue sky, and focuses on her Skeleton Woman wall hanging which she has designed and which is in Auckland being judged (this process is called being juried but Rose always thinks judged) for the prestigious Stacy Wall Hanging Competition. She must hear soon.
Rose has spent most of the day — in between listening to her customers express shock, grief, outrage, what should be done to the terrorists — furtively living and reliving the row with Olga. It seems self-absorbed in the extreme, but she can't stop it any more than she can stop her concentrated, intense, addictive listening to the news full of stories about last phone calls from sons and wives trapped on the planes, speculations regarding the identity of the terrorists, President's Bush's face as he says what the people want to hear, and the mayor of New York, who inspires the television presenters to think of words like inspired, calming, heroic. Earlier, on the day before the planes, she'd canvassed all the witty, sarcastic, cutting things she could and should have said to Olga, had rehearsed her attitude (more hurt than angry), her words (I have said all I'm going to say), and her tone (distantly courteous), when Olga apologised. Which she hasn't. In fact she hasn't contacted Rose at all, not even over the tragedy in the States. Rose is sick of it. Surely Olga wants to know how Rose is feeling. About the planes, the blue skies, the people running through the debris, their faces, the priest who had a heart attack and died as he went to rescue people. Evidently not. Rose doesn't ask herself why she hasn't rung Olga. That doesn't come into it. Rose is not at fault so why should she take the first step? To be home, alone; to have the freedom or determination to think about, speculate about her wall hanging's future glory is restful, relaxing.
Especially since Sibyl's phone call.
'It's come back,' Sibyl had said.
'Oh shit,' Rose said.
'Chemo this time,' Sibyl said.
Rose knew Sibyl had this appointment with the specialist, had meant to remember to ring her this morning and wish her luck. A year ago she and Sibyl had met in the ward where they were wheeled after their respective operations for breast cancer. They each knew who the other was of course, the Hutt being a relatively small place. Sibyl was a schoolteacher (English and drama) and Rose had, until four years ago, been one too.
Rose thought Sibyl probably knew why she'd left the profession and come back to the Hutt, why she'd set up a second-hand bookshop, but if she had she'd waited until Rose broached the subject before she said anything.
'Sometimes I get really sick of life,' Rose had replied to Sibyl, thinking of a building falling and people running.
'Yeah?' Sibyl said.
I'll kill myself, Rose thought. 'What are you doing tonight?' she asked.
'Off to a work do of Kitty's. A farewell for someone on transfer. Drinks and nibbles. Hope they have better riesling than they did last time.'
'I'll be in touch tomorrow.'
Rose vows to remember this time and has written it on the small jotter pad on which she writes her grocery lists and anything else she has to do. Signs of age, she thinks, when I have to write down stuff like this, although she's actually been making lists since she was at school.
The Skeleton Woman has survived the first round of the Stacy, where the judges look at photographs and choose what they want to see in the flesh, as it were. The Skeleton Woman is dancing, top hat at a jaunty angle, cane held just so, both legs off the ground in one of those leaps you see dancers do which makes them appear to be floating. Behind her is a skyline which at first appears to be a city; a closer look reveals that it's a river with blotches of light, silver and gold and blue lights. The river merges with trees and ends on the right in a stark area with stones and a large bird. Three borders frame the work. The middle one has keys, boxes, envelopes, diaries, cupboards, letters, all the items that conceal secrets appliquéd on it. The other two are the same deep bluey purple. It's worked in hand and machine appliqué and embroidery with various flourishes of beads, sequins and buttons.
'Dramatic,' Olga said, 'beautifully dramatic but sinister.' She suggested Rose have a card printed explaining the story of the Skeleton Woman and that this is sent with the slide of the hanging when it's couriered up to Auckland for the first judging.
Rose thinks the more mystery the better. The trouble with most people is that they shy away from mental effort. Rose shies away from emotional effort, but that's a different matter.
Or so Rose thinks.
Now Rose waits for the organiser's letter telling her how her hanging has fared. It's her first big competition so she can't expect to get better than a Highly Commended, but she does want that. Not just Commended but Highly Commended. For a week now every time she goes to the letter box at home or takes the mail from the postie at the shop she holds her breath until she's inspected the envelopes. Rose is not sure she actually wants the letter. Perhaps it's better to still be able to dream, although indulging in dreams about the possible success of a wall hanging seems almost immoral at the moment. But the dreams will stop anyway once she's received the letter and its probable bad news, and she can stop kidding herself she's made something really special.
Rose's mother Ada, who told her about the Skeleton Woman, would be delighted if she could see Rose's version. Her mother was, no doubt about it, an oddity. A staunch socialist whose hobby was fine needlework. Every room in her house a mess of papers except the sewing room where there was neatness and order, threads, needles, pins, scissors, tailor's chalk, transfer paper, all precisely set out in drawers, all transfers labelled, all books and magazines filed alphabetically, fabric colour coded and then graded according to what Ada called value. Now that Rose is the sole occupant every room in the house is neat, clean, tidy, free of papers, while you can hardly get in the door of the sewing room for the mess of fabrics, threads, rulers, rotary cutters, cutting boards, scissors, jars of sequins, beads, buttons, drawing pads, pencils, rubbers. Rose knows where everything is though, can lay her hands instantly on that small piece of yellow fabric, that metre or so of silver thread, those fine small scissors. She will clean the room up when she hears about the hanging. If she does it now she'll interrupt progress, dam up a channel, impede a communication between the judge and the hanging. Or so she feels. Rose distrusts the notion that one should go with one's instinct except where her needlework is concerned. Her needlework is the one area of her life that is constant, can be relied upon, is not going to provoke rows or suffer a return of cancer. It can be relied upon to cause frustration, sore neck, sore arms, tender fingers, headaches and tired eyes, but also huge delight and pleasure. It provides balance. Most other things in her life, Rose finds, sooner or later end up on the debit side with absolutely no delight or pleasure at all.
'You're a pessimist,' Olga told her.
'No,' Rose argued, 'I'm a realist.'
There's probably nothing inherently strange about mixing socialism and needlework at all. Perhaps it's a class thing to think that. In Rose's head, as she is sure is in everyone's, there are stereotypes that have one kind of person getting involved in socialist politics and the other in the perhaps quieter (more genteel middle class perhaps?) craft of embroidery, cross stitch and appliqué. What would Ada have thought of those planes? Of those poor people trapped inside them, not knowing exactly when, but knowing without any equivocation at all that death was going to be the end of this journey. At least with the cancer, Rose had had hope. And so far, fingers crossed, she's OK. Although that's what Sibyl had thought. Rose has an appointment at the hospital clinic on Monday, when the specialist will examine her breasts, her glands, under her arms, and tell her what the latest mammograms reveal. She has determinedly not thought about it, will not think about it until she's walking into the hospital, but Sybil's news has buggered that plan.
Rose has had a busy Friday. The Book Stops Here had a good day. Perhaps it's those frisky little breezes blowing dust into the gutters and snatching newly delivered copies of Hutt News out of the letter boxes and onto the streets so that sheets of it slap against cars and snap into shop doorways. People who felt a lift of the heart because winter has ended now feel that — in view of what's happened in New York — this was precipitate. The idea of going home with a good book, pulling the curtains and settling where it's safe, still and warm, is very appealing. Books have practically walked out by themselves. Lots of general fiction, practically a shelf of Mills & Boons and Westerns, that really nice old Bible, some Auden and Spender (sold to the same man) and that big coffee-table sized book of Life photographs which has been in the shop since Rose first opened the doors. Eight Georgette Heyers (coming back into fashion) and at least five Goosebumps (going out of fashion), plus the only two Harry Potters she's got. Ten people had come in with cartons of books to sell, only one of which Rose bought. Some gems there. One, to Rose's astonishment and pleasure, a Margaret Atwood in very good condition, some Marge Piercy and Amy Tan. The Margaret Atwood sold thirty minutes after Rose placed it in the window. When she got back from doing the banking there were these two women, grey-haired, tracksuited, fit, both out for their daily walk. Both had decided at exactly the same moment to have a quick look in Rose's window, both wanted Margaret Atwood, both thought they were first and had a right to it. In the end Rose flipped a coin. The one who chose tails won The Robber Bride and went off triumphantly. 'I know I shouldn't be going on like this about a book,' she said, 'but on the way home I'm going to take a Lotto.' Rose tried to interest the other one in an Alice Munro or a Carol Shields thinking well, they're all Canadians. No luck. The woman knew Alice Munro was good, but she didn't like short stories, and she reckoned Carol Shields was actually born in the States in the same place Hemingway was born so she wasn't really Canadian was she. Then she saw one of Ian Rankin's she hadn't read and grabbed it. While she was waiting for her change she said, 'When I really want a book I feel as though there's a cat inside me snarling and lunging and I get all jangly and horrible, but once I get the one I want, the cat settles down and begins purring and I'm OK. I've always felt that. And reading a book's sort of comforting after watching television.'
Rose agreed. Rose nearly always agrees with customers.
Rose longs for a large gin and tonic to ease the ache across her neck and shoulders, dull the ache of those firemen's faces with their mixture of hopelessness and optimism, quieten the burning under the scar on her breast, comfort the pain the row with Olga has left in her chest, ease the terror induced by Sibyl's news. If it can happen to Sibyl it can happen to Rose. For one instant after Sibyl had told her, Rose felt a quick charge of relief. This time the bad news was not for her. Immediately she was bathed in guilt, hotter and sweatier than the menopausal hot sweats which began two years ago. She hoped this wasn't obvious in her voice, but was afraid it was. You got pretty sensitive to that sort of thing when you were the one with the bad news. Rose should not get cocky, she still has her own appointment to get through. They'd taken forever doing the mammogram. 'It's the staples,' the woman said, 'we need to establish clearly that what's on the screen is staples and not —' Once, Rose had to redo the mammograms because the specialist had not been happy with those ominous blurs at the top of the breast. When he rang to say the blurs were staples Rose began breathing properly again. Then thought staples? Staples? I'm walking around held together with staples? Don't exaggerate Rose, she hears her mother say. The awful anxiety between that clinic visit and the doctor's phone call had stayed with her, although submerged, but with Sibyl's news was up above the surface, clearly visible.
While she's sipping the gin and tonic she will have a read of the morning paper — she'd only had time to read the headlines. Then she'd have another gin and tonic and something delicious to eat. She feels better already. Smiling, one hand tightening around a glass, the bottle in the other hand, Rose is stopped in her tracks by a mewing sound. It pierces the kitchen, and Rose swings round. She becomes aware her mouth has dropped and is mildly irritated. In a section of books in her shop, people's mouths are always dropping, along with their members throbbing and their breasts heaving. There was one customer, late thirties, who appeared every Wednesday lunchtime for her fix. She picked one of these books off the shelf, turned to page seventy-nine (she said there's always a steamy sex scene on page seventy-nine), and read avidly. She and her husband made love on Wednesday nights because they both played bowls on Saturday evenings. She liked to read about heaving breasts and throbbing members, to get her in the mood. Not enough to buy the books however.
(Continues...)
Excerpted from The Skeleton Woman by Renée. Copyright © 2002 Renée. Excerpted by permission of Spinifex Press Pty Ltd.
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