The wind was high.
‘Selma, be weak like me. Henry is right. Priest is right. It is all going to be laid flat. Let us rejoice. Let us go to the bay. Let us take Henry with us. And afterwards, if there is an afterwards, Henry will take us to his pretty little island.’
‘There are no more islands. It’s not you talking. It’s the wind.’
The oil lamp which was really an electric lamp was overturned. Darkness, except for the blue of the television screen. And the wind drowned Priest’s voice.
Selma became hysterical.
‘Let us get out of here. Let us go back to town. In the street with the others.’
‘No, let us go to the bay.’
Henry sat among disarrayed plastic flowers, in a deserted Coconut Grove.
‘The bay!’
‘The bay.’
We drove up and over the hills, the three of us. We heard the wind. We ran down on to the beach, and heard the sea. At least that couldn’t be changed. Once the beach was dangerous with coconut trees, dropping nuts. Now most had been cut down to make a parking lot. Standing foursquare on the beach was a great concrete pavilion, derelict: a bit of modernity that had failed: a tourist convenience that had served no purpose. The village had grown. It had spread down almost to the beach, a rural marine slum. Lights were on in many of the shacks.
‘I never thought you could destroy the bay.’
‘We might have a chance to start afresh.’
We walked in the wind. Pariah dogs came up to wait, to follow fearfully. The smell of rotting fish came fitfully with the wind. We decided to spend the night in the tourist pavilion.
Morning, dark and turbulent, revealed the full dereliction of the beach. Fishing boats reclined or were propped up on the sand that was still golden, but there were also yellow oil drums on the beach for the refuse of the fishermen, whose houses, of unplastered hollow-clay bricks and unpainted timber, jostled right up to the limit of dry sand. The sand was scuffed and marked and bloody like an arena; it was littered with the heads and entrails of fish. Mangy pariah dogs, all rib and bone, all bleached to a nondescript fawn colour, moved listlessly, their tails between their legs, from drum to yellow drum. Black vultures weighed down the branches of coconut trees; some hopped awkwardly on the sand; many more circled overhead.
Henry was peeing into the sea.
I called out to him, ‘Let us go back. It is more than I can stand.’
‘I always wanted to do this,’ he said. ‘In public.’
‘You mustn’t blame yourself,’ Selma said. ‘It is never very good in the morning.’
It hadn’t been good.
We drove back to the city. We drove, always, under a low dark sky. It was early, yet the island was alive. The streets were full of people. Their first hurricane, their first drama, and they had come out into the streets so as to miss nothing. All normal activity had been suspended. It was like a continuation of the night before; the streets were even more like aquaria, thick with life, but silent. Only the absence of the blackness of night seemed to have marked the passage of time; only that and the screens, now blank, of television sets seen through the open doors of houses — some still with useless lights on — and in cafés doing no business.
Then it was night again. The useless lights had meaning. Against the black sky blacker points moved endlessly: all the birds of the island, flying south. It was like the final abandonment. We were in the midst of noise, in which it was at times possible to distinguish the individual groans of houses, trees, and the metallic flapping of loose corrugated-iron sheets. No fear on any face, though. Only wonder and expectation.
The television screens shimmered. Priest reappeared, tired, shining with fatigue, telling us what we already knew, that the end of our world was at hand.
‘Behold,’ he said, ‘now is the day of salvation.’
The city responded. Faintly at first, like distant temple bells, the sound of steel orchestras came above the roar of the wind. The pariah dogs, and those dogs that lived in houses, began to bark in relay, back and forth and crossways. Feet began to shuffle. Priest railed like a seer, exhausted by the effort of concentration. He railed; the city was convulsed with music and dance.
The world was ending and the cries that greeted this end were cries of joy. We all began to dance. We saw dances such as we had seen in the old days in Henry’s yard. No picking of cotton, no cutting of cane; no carrying of water, no orchestrated wails. We danced with earnestness. We did contortions of which we had never thought ourselves capable.
We saw Blackwhite dancing with Leonard. Blackwhite not white, not black, but Blackwhite as we all would have liked to see him, a man released from endeavour, released from the strain of seeing himself (portrait of the artist: the tribal subconscious), at peace with the world, accepting, like Leonard. We saw Bippy, Tippy and Chippy arm in arm with Pablo, Sandro and Pedro, as though the wooing that had begun at The Coconut Grove had gone on all night: a gesture now without meaning, a fixed attitude of ritual in which news of the hurricane had caught them all. Occasionally the men from Foundationland pleaded with Blackwhite. Still, without malice or triumph, he spurned them, and did stylized stamps of simple negation: a private man, at last. As on a flat stage, stretching to infinity before our eyes, infinity the point where the painted floorboards met, companionship and wooing and pursuit and evasion played back and forth before us. But Leonard, obstinately dancing, dancing with earnestness, like the man anxious to catch the right mood and do the right thing: Leonard remained, in spite of his exertions, what he had always been, bemused, kind, blank. Arm in arm he danced with Blackwhite whenever they met; and Sinclair, big, heavy Sinclair, swung between them. And the tourist teams of the day before: the happy now like people who had forgotten the meaning of the word, which implied an opposite, the embittered, oh, infinitely less so. And for me, no terror of sky and trees: the courage of futility, the futility of courage, the empty, total response.
Through the streets, flattened to stage-boards, we danced, waiting for the final benediction. The sky hung low, grew high, hung low. The wind sweetly filled our ears, slackened, filled our ears again. We danced and waited. We waited and danced.
Benediction never came. Our dancing grew listless. Fatigue consumed anguish. But hope was not entirely consumed, even when on the television sets we saw Priest being transformed into Priestland, the seer into the newscaster, the man whose thoughts had only been of death, into the man who diminished life. But how could we deny?
We gave up the hurricane. We sat in the streets. Light was grey, then silver. The stage was becoming a street again; house took on volume. I heard Bippy, Tippy and Chippy wailing. Pablo and the boys comforted them.
Sinclair straightened his jacket and tie. In the light of a day that had now truly broken he went to Leonard, detached him from Blackwhite, and said, ‘Come, Leonard. Come, boy. We have had our fun. It is time to go home!’
‘Goodbye, Mr White,’ Leonard said. ‘Very well, Sinclair. You have been very good. Let us go.’
Blackwhite saw and understood. ‘Leonard!’ he said, stupefied. ‘Leonard, what about my black novel? You promised help. You drove away the men from Foundationland. You said I was to want for nothing.’
‘Goodbye, Mr White. How are you feeling, Sinclair?’
‘Leonard! You promised support! Bippy, Tippy, Chippy. Wait, wait. Pablo, call off your idlers! Pablo! Bippy! Mr Tippy! Mr Chippy!’