Go to sleep if you want, she whispered. I'll wake you if a cat shows up. Eyes closed, I nodded in silence. The air was still. There were no sounds of any kind. The pigeon had long since disappeared. I kept thinking about the woman on the telephone. Did I really know her? There had been nothing remotely familiar about her voice or her manner of speaking. But she definitely knew me. I could have been looking at a De Chirico scene: the womans long shadow cutting across an empty street and stretching toward me, but she herself in a place far removed from the bounds of my consciousness. A bell went on ringing and ringing next to my ear.
Are you asleep? the girl asked, in a voice so tiny I could not be sure I was hearing it. No, I'm not sleeping, I said. Can I get closer? It'll be ... easier if I keep my voice low. Fine with me, I said, eyes still closed. She moved her chair until it struck mine with a dry, wooden clack. Strange, the girls voice sounded completely different, depending on whether my eyes were open or closed. Can I talk? I'll keep real quiet, and you don't have to answer. You can even fall asleep. I don't mind. OK, I said.
When people die, its so neat.
Her mouth was next to my ear now, so the words worked their way inside me along with her warm, moist breath. Whys that? I asked.
She put a finger on my lips as if to seal them. No questions, she said. And don't open your eyes. OK? My nod was as small as her voice.
She took her finger from my lips and placed it on my wrist. I wish I had a scalpel. Id cut it open and look inside. Not the corpse ... the lump of death. I'm sure there must be something like that. Something round and squishy, like a softball, with a hard little core of dead nerves. I want to take it out of a dead person and cut it open and look inside. I always wonder what its like. Maybe its all hard, like toothpaste dried up inside the tube. That's it, don't you think? No, don't answer. Its squishy on the outside, and the deeper you go inside, the harder it gets. I want to cut open the skin and take out the squishy stuff, use a scalpel and some kind of spatula to get through it, and the closer you get to the center, the harder the squishy stuff gets, until you reach this tiny core. Its sooo tiny, like a tiny ball bearing, and really hard. It must be like that, don't you think?
She cleared her throat a few times.
That's all I think about these days. Must be because I have so much time to kill every day. When you don't have anything to do, your thoughts get really, really far out-so far out you cant follow them all the way to the end.
She took the finger from my wrist and drank down the rest of her cola. I knew the glass was empty from the sound of the ice.
Don't worry about the cat-I'm watching for it. I'll let you know if Noboru Wataya shows up. Keep your eyes closed. I'm sure Noboru Wataya is walking around here someplace. Hell be here any minute now. Hes coming. I know he's coming-through the grass, under the fence, stopping to sniff the flowers along the way, little by little Noboru Wataya is coming closer. Picture him that way, get his image in mind.
I tried to picture the image of the cat, but the best I could do was a blurry, backlighted photo. The sunlight penetrating my eyelids destabilized and diffused my inner darkness, making it impossible for me to bring up a precise image of the cat. Instead, what I imagined was a failed portrait, a strange, distorted picture, certain distinguishing features bearing some resemblance to the original but the most important parts missing. I couldn't even recall how the cat looked when it walked.
The girl put her finger on my wrist again, using the tip to draw an odd diagram of uncertain shape. As if in response, a new kind of darkness- different in quality from the darkness I had been experiencing until that moment-began to burrow into my consciousness. I was probably falling asleep. I didn't want this to happen, but there was no way I could resist it. My body felt like a corpse-someone else's corpse-sinking into the canvas deck chair.
In the darkness, I saw the four legs of Noboru Wataya, four silent brown legs atop four soft paws with swelling, rubberlike pads, legs that were soundlessly treading the earth somewhere. But where?
Ten minutes is all it will take, said the woman on the phone. No, she had to be wrong. Sometimes ten minutes is not ten minutes. It can stretch and shrink. That was something I did know for sure.
When I woke up, I was alone. The girl had disappeared from the deck chair, which was still touching mine. The towel and cigarettes and magazine were there, but not the glass or the boom box.
The sun had begun to sink in the west, and the shadow of an oak branch had crept across my knees. My watch said it was four-fifteen. I sat up and looked around. Broad lawn, dry pond, fence, stone bird, golden-rod, TV antenna. Still no sign of the cat. Or of the girl.
I glanced at the cat path and waited for the girl to come back. Ten minutes went by, and neither cat nor girl showed up. Nothing moved. I felt as if I had aged tremendously while I slept.
I stood and glanced toward the house, where there was no sign of a human presence. The bay window reflected the glare of the western sun. I gave up waiting and crossed the lawn to the alley, returning home. I hadn't found the cat, but I had tried my best.
At home, I took in the wash and made preparations for a simple dinner. The phone rang twelve times at five-thirty, but I didn't answer it. Even after the ringing stopped, the sound of the bell lingered in the indoor evening gloom like dust floating in the air. With the tips of its hard claws, the table clock tapped at a transparent board floating in space.
Why not write a poem about the wind-up bird? The idea struck me, but the first line would not come. How could high school girls possibly enjoy a poem about a wind-up bird?
Kumiko came home at seven-thirty. She had been arriving later and later over the past month. It was not unusual for her to return after eight, and sometimes even after ten. Now that I was at home preparing dinner, she no longer had to hurry back. They were understaffed, in any case, and lately one of her colleagues had been out sick.
Sorry, she said. The work just wouldn't end, and that part-time girl is useless.
I went to the kitchen and cooked: fish sauteed in butter, salad, and miso soup. Kumiko sat at the kitchen table and vegged out.
Where were you at five-thirty? she asked. I tried to call to say Id be late. The butter ran out. I went to the store, I lied. Did you go to the bank? Sure.
And the cat?
Couldn't find it. I went to the vacant house, like you said, but there was no trace of it. I bet it went farther away than that.
She said nothing.
When I finished bathing after dinner, Kumiko was sitting in the living room with the lights out. Hunched down in the dark with her gray shirt on, she looked like a piece of luggage that had been left in the wrong place.
Drying my hair with a bath towel, I sat on the sofa opposite Kumiko.
In a voice I could barely catch, she said, I'm sure the cats dead.
Don't be silly, I replied. I'm sure its having a grand old time somewhere. It'll get hungry and come home soon. The same thing happened once before, remember? When we lived in Koenji...
This times different, she said. This time you're wrong. I know it. The cats dead. Its rotting in a clump of grass. Did you look in the grass in the vacant house?
No, I didn't. The house may be vacant, but it does belong to somebody. I cant just go barging in there.
Then where did you look for the cat? I'll bet you didn't even try. That's why you didn't find it.
I sighed and wiped my hair again with the towel. I started to speak but gave up when I realized that Kumiko was crying. It was understandable: Kumiko loved the cat. It had been with us since shortly after our wedding. I threw my towel in the bathroom hamper and went to the kitchen for a cold beer. What a stupid day it had been: a stupid day of a stupid month of a stupid year.