Little Bird. Camilla Way
to identify the strange new sound as words drift towards her like dandelion seeds on a breeze. And all at once something in her remembers; some small part of her stirs: a distant, half-forgotten longing rises inside her. Instinctively she gets up and moves towards the voices, towards something she hadn’t even known she’d hungered for till then. And then the man has snatched her up, is running with her towards the cottage, his hand silencing her sharp yelp of shock. Inside the tiny house he wraps a shirt around her mouth, tying it so tightly that the tears choke in her throat. He pushes her beneath the small wooden bed and pulls the blanket down until she’s in darkness, shivering on the cold stone floor. And then she hears him leave, the bolt of the door sliding heavily in its lock.
Later, when the fire’s burning in the grate and the sky outside is dark, the man sits and holds her to him and wipes away her tears. Whatever lies beyond the forest is to be feared, she’s certain of that now. She gazes up at him until the anger and hurt gradually leaves her. After a while, she reaches for his wrist and turns it to its white, fleshy underside. It’s something she has done since she was very small, has always been drawn to the soft, white skin there, such a contrast to the rest of him that is so rough and tanned or covered in swirls of hair. She traces her finger along the delicate flesh, where pale blue veins pulse beneath the whiteness. He smiles down at her. All is well again.
Every night the girl lies on her narrow bed and listens to the sound of the man sleeping on the other side of the hearth, his slow steady breath mingling with the ‘hee-wiiit’ and ‘oooo’ of the owls as they move outside on silent wings. Each morning she wakes before the first light. Quietly, while the man sleeps, she slips out of the cottage and sits on the step, waiting patiently. As soon as the first light appears the forest seems to stretch and sigh expectantly. Mist hangs heavy between the trees; a warm muskiness rises from the bracken, foxes cease their dissolute shrieking and even the gurgling river seems to pause awhile. And then, at last, it begins.
Each first, tentative note is answered by another and then another. Gradually, the simple calls are replaced by a thousand complex melodies that weave and wind around each other, building layer upon layer until the forest is swollen with sound, the trees are heavy with song, and music falls like rain from the branches of each one. The sun floats higher in the sky bathing each leaf in a soft, pink light. And the forest is transformed by birdsong: it is saturated with music and it’s magical, it’s hers. The sound grows louder and louder until it feels to the child that the whole world is drenched in melody. But then, finally, suddenly: nothing. Only a silence that is as dramatic as the symphony it has replaced. The child rouses herself and returns, satisfied, to the house and the sleeping man.
At dusk on summer’s evenings, the man and the girl sit together on a little bench in front of the cottage. While he smokes and stares thoughtfully at the fading evening light, the child performs for him the music she has learnt. From the loud, mewing ‘pee-uuu, pee-uuu’ of the buzzard, to the jangling warble of the redstart, to the warm cooing of the cuckoo and the ‘chink-chink, chink-chink’ of the blackbird, the child is able to mimic each one perfectly. Tika-tika-tika, she sings. Chiiiiiiiiiii-ew. She knows the music of every bird from the whitethroat to the kestrel to the guillemot to the lark. And the man smokes and listens, while he carves his gift to her: a little wooden starling whittled from a fallen branch.
They are happy together, the silent man and the wordless child. The days and months come and go, as the seasons attack, take hold, and then recede. But in the same way that night banishes the sun, and winter crushes summer in its fist, so too does darkness come to the man. It arrives without warning and lasts sometimes days, sometimes weeks, but it seems to her that when it comes it falls with such heavy finality there will never be light again. It is as if the mud from the riverbed has crept up on him while he slept, as if its thick, black muck has seeped into his ears, his nostrils, through his mouth to choke him on its wretchedness.
At these times, the child can do nothing but watch and wait. When night falls she builds a fire and perches miserably at the man’s side while he sits, immobile in his chair, with heavy, brooding eyes. Sometimes she creeps towards him and, lifting his arm, she brings the naked underbelly of his wrist to her cheek, but when he doesn’t respond, she lets it drop listlessly to his side and returns to crouch by the fire alone. Some mornings he will not rise from his bed at all but will continue just to lie there, his knees bent almost to his chest, his face staring sightlessly at the wall.
And when finally he returns to her, emerging blinking into the sunlight as if bewildered to find the world exactly as he left it, she will go to him and take his hand and lead him to the river to fish. Later they will tend the vegetables and chickens together, and eat their supper side by side on the little bench beside the cottage while the birds begin again their evening song.
The Mermaid, Dalston, north London, 21 September 2003
Into the bar she walks, winding between the bodies like cigarette smoke. She’s here to celebrate her last day at the insurance firm where she’s temped for the past six months. She’s tired, would prefer to go home, but Candice and Carmen have insisted: they want to see her off in style. A Gary Glitter song screams suddenly through the room at high-speed like a rampaging gatecrasher. Kate stands by the cigarette machine and waits.
The Mermaid is packed with the sort of people discouraged from patronizing the bars and restaurants a few miles away on Upper Street where Kate, Carmen and Candice plan to head after they’ve taken advantage of the Mermaid’s 3-for-l cocktail offer. She has never been here before. It is one of those bars that has tinted windows and CCTV. Disco lights flash encouragingly from the dance floor: red, blue, yellow and green. She looks at the various groups of drinkers: the shaven-headed men in their tan leather jackets and their orange, wrinkly-cleavaged women. They each drink and talk in short sharp bursts, all the while scanning the room with restless, flickering eyes. She buys a drink and stands by the cigarette machine, waiting for her friends.
And by the bar a young man stands alone, staring at her, as if she has just called out his name.
Candice and Carmen arrive. They are fond of Kate; girls like them always are. She’s the quiet type and therefore impressed, they’re sure, by their confidence and bravado. She is unfashionably dressed, so must be envious of their TopShop clothes and long flat hair. She has no man of her own so hangs (bless her) on their tales of flirting and fucking, their one-night stands with rich city boys. She is the blank canvas on which they paint themselves in the most flattering of lights. They will miss her when she’s gone and feel vaguely outraged when she doesn’t keep in touch.
The hissing and scratching of the grooves.
She notices that the man at the bar has returned to the DJ booth and put another record on. The dance floor refills and, between the swaying bodies, she examines the three men by the decks. The tall, dark-skinned man is very beautiful; his eyes cat-like, his lips full and mournful, his fingers long and graceful. Every so often he pulls a tiny plastic vial from the pocket of his jacket and takes a sniff in a sly, furtive gesture that belies the slow, sleepy sensuousness of his face.
The man next to him is stocky, solid, and has a large, open countenance with smiling eyes. He moves in big, expansive gestures and rarely stops talking, laughs a lot and loudly and is very tactile, slapping his friends on the back or ruffling their hair. He is very sure of himself; very comfortable in his skin. He’s the sort of man, she thinks, who has probably changed little since boyhood, except perhaps for an almost imperceptible glimmer of doubt that slides at odd moments behind those keen, laughing eyes.
The third man is the man who had been staring at her by the bar and who is staring at her still. He’s dressed in shabby jeans and a pale green sweatshirt. He has an attractive, sensitive face and his slim frame is tall and slightly awkward. She sees that while his friends become increasingly drunk, there is something contained, something infinitely calm about him. She notices that his friends glance at him often, as if to reassure themselves that he is still there, that everything is as it should be. After a while, she finds herself beginning to do the same.
‘Fucking