He had to work up the nerve to look closer, bringing the lamp down across the map for the light. Where he expected to see Sweetland there was nothing but blue water. And Little Sweetland beside it the same. The names he’d written across the islands were gone. He thought Keith might have erased them, but even the ink outlines the names had been printed over were missing from the map. As if he’d only imagined seeing them there.
He looked up at the window and his one-eyed reflection stared back at him from that black well. He turned for the door and started along the hall, wanting to wake the Priddles, to make them sit up with him until daylight, but he stopped at the foot of the stairs. Listening for the rattle of Barry snoring or the sound of bedsprings, of the brothers turning in their sleep. But there was only a breathless stillness. And he knew he was alone in the house.
He went back to the kitchen and set a hand to the stove. The fire was out and the metal was cold, like it had been sitting idle a long time. There was no wind in the flue, no habitual creak or settle in the walls of the house. Sweetland crossed the floor to the table and turned the map in quarters as he considered the absence there. So insignificant it would go unnoticed by anyone not looking for it.
He folded the map along the creases and set it in the cold firebox of the stove. He struck a match and dropped it in, watched as the paper curled in the heat, the edges charring black and disappearing in the travelling flame. He set the damper back and took the lamp into the porch to find his coat. Caught sight of Uncle Clar as he slipped into the sleeves and Sweetland nodded goodbye to the young face before he blew out the lamp beside the storm door. Stepped into the still air, into the cavernous silence of the cove. He walked along the back of his property and up beyond the new cemetery, away from all he’d ever known or wanted or wished for. At the King’s Seat he turned to look down on the water and there was nothing below but a featureless black, as if the ocean was rising behind him and had already swallowed the cove and everything in it.
“Now, Mr. Fox,” he said.
He carried on across Vatcher’s Meadow and over the mash toward the light at Burnt Head, following the cairns along the headlands. He was watching for the outline of figures on the rise above the keeper’s house and saw them moving toward the light, all travelling at the same methodical pace, with the same lack of urgency. Sweetland fell in with them as he crested the rise, the walkers so close he could feel the cold rising off their coats, a scoured smell in the air around them, linseed and raw salt and spruce. They didn’t acknowledge Sweetland or show the slightest concern that he was there. A squat form in rubber boots just ahead of him, a shapeless gansey sweater swaying almost to the woman’s knees. He could have reached a hand and traced the pattern in the wool, she was that close to him.
His companions looked to be numberless in the dark and strangers every one of them. But he was grateful for their presence just the same. He followed the procession down to the ruins of the keeper’s house and they filed past it without taking any notice, calm and all in silence. He stopped there, not certain he was meant to go on to the cliffs. A boy brushed past him as he hesitated and Sweetland almost called out, thinking he recognized the child by the seashell whorls of a double crown, a rogue lick of hair. But the feeling passed before he made a sound.
The boy disappeared in the crowd and Sweetland carried on in his wake, past the light tower to the cliffs of the Fever Rocks where he lined along the headland beside the others. A press of silent figures with their faces turned to the open sea. They seemed resigned and expectant standing there, their eyes on the fathomless black of the ocean. Sweetland anonymous among that congregation.
He felt of a sudden like singing.
ACKNOWLEDGEMENTS
AS ALWAYS, I’m grateful for the company of Martha Kanya-Forstner.
Thanks to MKF and to Katie Adams for the conversations that helped shape the novel. And to Holly Hogan, Stan Dragland, Martha Webb and Shawn Oakey for commenting at various stages.
For stories and details that I’ve worked to my own purposes, I’m indebted to Art Crummey, Mazie Crummey, John and Mary Fitzgerald, Paul Dean, Dave Paddon, Helen Crummey, Mark Ferguson, Mrs. Abbie Whiffen (née Ellis), Justin Simms, Beth Follett, Gerry Squires, Sean McCann and Annette Clarke. A number of settings and incidents were suggested by Carl Sharpe’s Memories in the Life of a Twillingate Man, Harold Paddon’s Green Woods and Blue Waters, and David McFarlane’s The Danger Tree.
Thanks to Holly Hogan for letting me borrow Baccalieu Island, and for wildlife intel; the Family Swan and unrelated staff at Adventure Canada; the communities of Francois, Ramea, and Western Bay.
Sara Loveless’s cow arrived via Miguel Invierno. Paul Dean quaffed the kerosene. HH delivered the tuxedo dog. Jeff Anderson loaned the oversized coat. The buffalo are compliments of JR Smallwood and a Martin Connelly article in the Spring 2012 issue of The Newfoundland Quarterly. The community of boat engines was lifted (along with countless other details) from Arctic Twilight by Leonard Budgell.
Thanks to Martha Webb, Anne McDermid et al @ McDermid & Associates. To Julie Barer @ Barer Literary. To Kristin Cochrane, Scott Sellers, Martha Leonard and company @ Doubleday Canada.
I’m grateful for the Canada Council for the Arts in general. And in particular for a Council grant that came at a crucial point in the writing of this novel.
Thanks to Arielle, Robin and Ben for bearing with me.
And to Holly Ann, for everything else.