The Wind Done Gone (15 page)

Debt Chauffeur, that's my name for him now, wants to marry me. He asked me down on bended knee, and I would have been honored—except he wants us to live in London, and he wants me to live white. I crowed at that. I laughed so hard, and not a tear came. He couldn't understand it. I don't often think on how white I look; it's always been a question of how colored I feel, and I feel plenty colored. He said that no one in London will know that I'm supposed to be colored. And I said I am colored, colored black, the way I talk, the way I cook, the way I do most everything, and he said but you don't have to be. She was "black" and she didn't seem it, and she was not that much lighter than you, and she was "black."

At last that explained everything to him. I understood it near at once. It had never seemed before that he so little knew me. Always at least he knew the difference between her and me, and now he saw little difference, and the advantage was all to Other.

I tell him. Mammy is my mother. I think of her more as the days pass. I can't pass away from her. He says she's the one asked me to do it. I don't believe him, and he hands me another letter.

The script was ornate but the words were crude. I didn't recognize the handwriting. Before I read the contents I guessed the fine script belonged to some Confederate widow, a general's wife or daughter, who owed a favor to Lady and repaid it to Mammy. But what I read Mammy would never have dictated to any friend of Lady's. I suspect she came to Atlanta, came to Atlanta and didn't visit me, came to Atlanta and got someone from the Freed Men's Bureau to do her writing. I can hear her saying, "Git it 'xact. I ain't here fo' no about." Syllable and sound, the words were Mammy's.

 

Dear Sur,

 

You done already send one of mah chilrens back to me broke. Lak an itty bitty thang, a red robin, you done twist her soul lak da little neck and huah can't sang no mo'. She was mah Lamb, so I guess that how that goes.

 

Now you got mah chile. What was my vary own. Dat's a love child you got, Cinnamon. Skinny as stick, spicy and sweet. An eyes-wide-open-in-the-daylight child. She need a rang on her finger and some easy days, dat gal do. I had me the roof and the clothes, I watch huah Lady wear de jewels but Ah ain't neber cared nothing about dat. Ah done toted and tarried and twisted mah own few necks, but dis ain't about dat. Let mah child love you. And let Gawd love her too. For what I done for you little Precious. Yo' chile dat died. Marry mah little gal.

 

I am sincerely,

 

Her Mammy

Beneath the last two words Mammy had placed her mark, a cross in a circle.

I cried enough to ride back to Africa on a slide of tears. "Mah little gal"—what I wouldn't give to hear her speak those words I see on the paper; what I would not give does not exist. I want to eat the paper. I would give anything to hear her say "mah little gal." What am I writing? I would give everything to hear her say anything at all. I want Mama, I want my mother. I want Mammy. It's easy to want her, now that I know she wanted me. If I coulda wanted her when I didn't know she wanted me, she might be mine right now. She might be alive right now. Mammy never stood foot on London. Ah ain't goin' dere. I ain't goin' nowhere she ain't been. I'm staying here and looking for what's left of her.

Debt says all that's left of Mammy is me. He is polite enough to flinch as he says it. I ask him if he's imagining me fat and dark. He don't answer. He tells me about a dream Other used to have. A dream of hers. She was lost in a fog, running, looking for something, and she don't know what. Other never knew what she wanted, so she never had it even when she did. I ask him why he's still talking to me about her when she's buried in the ground. I say I know what I'm looking for. When I was a little girl I was looking for love. When they sold me off the place I was looking for safety. At Beauty's I was looking for propriety, and now, and now I have drunk from the pitcher of love, and the pitcher of safety, and the pitcher of propriety till I feel the water shaking in my ears. But thirst still burns. What I want now is what I always wanted and never knew—I want not to be exotic. I want to be the rule itself, not the exception that proves it. But I have no words to tell him that, and he has many feelings for me, but that is not one of them.

Later, I look at my reflection in the glass—and I try to see what he sees. I look for the colors. I see the blue veins in my breast. I see the dark honey shine of my skin, the plum color of my lips. I see the green of my eyes, and I see the full curve of my lips and the curl of my hair, and I know that it's not so very bad being a nigger—but you've got to be in the skin to know.

Am I still laughing? It is not in the pigment of my skin that my Negressness lies. It is not the color of my skin. It is the color of my mind, and my mind is dark, dusky, like a beautiful night. And Other, my part-sister, had the dusky blood but not the mind, not the memory. There must be something you can do or not do. Maybe if the memories are not teased forth, they are lost; maybe if the dance is not danced, you forget the patterns. I cannot go to London and forget my color. I don't want to. Not anymore.

I had never known him to be ignorant. But he is. He thinks like the others, the common tide. He thinks that the blackness is in the drop of blood, something of the body. I would have thought he knew enough women's bodies to know that that could not be true. And enough blacks and whites to know there is a difference. What did I suck in on Mammy's tit that made me black, and why did it not darken Other's berry? Was there some slight tinge, some darkening thing about Other? Lady's fortitude; Other's willingness to take to the field? And how does one explain the sisters except that part of the blood memory must be provoked and inspired and repaired, time and again, to become the memory.

This tied-up-in-ribbons gift I want from him, he has no picture in his head of what that gift looks like unwrapped. No picture at all. The lift of a hat, the dip of his back—those gestures would remain as they have been, but the bitter curve of his lip holding back a laugh that salutes all that is strange and lacking in harmony in me, in him, in us, would vanish. That curve in his lips, that spark in his eye of—truth—yes truth, there is so much in me strange and discordant. The notion of respecting me, as me, myself, would be, is, half foreign to his mind. No, no, not foreign; foreign is this coming week of travel, that idea is not foreign to him. Respect for me is foreign to me. Respect for me is an accomplishment of his, mine by gift, not mine by right. Absence and exoticism are such different keys of longing. He adores me, he has worshipped me, I believe he loves me, but never could the tone of his feeling be formed so that this cautious emotion, this sturdy food, "respect between equals," be what you called the way his heart turned toward mine.

It was always some warmer feeling, not the cold distance of temperance. I want his respect. I have fragments of it and fractions. He admires my mind. I have read more books than any woman he knows well. The way I break rhythms, the way I make rhythms, he yearns for the music of my way of telling, of being, of seeing. But now our love songs are played in two keys: grief and remorse. I prefer grief to remorse. Without mutuality, without empathy to join and precede sympathy, I am but a doll come to life. A pretty nigger doll dressed up in finery, hair pressed for play. I will be the solace of sorrow but not the solace of shame. I have been dropped too deeply into the shame bucket to borrow any that belongs to somebody else. I wrap my shame in his respectability, I let his arms wrap 'round my shoulders, his weight press me into a sense of place. His self plunging into my heart awakens me, and, with it, a weak humiliation I've known so long, an aching bruise it pleasures to touch.

And yet and still I have wanted this for a long time. It was my first woman's dream. I have wanted this for too long to walk away without the prize I have coveted. I will marry him. I will marry him. I believe I will marry my Debt.

I read what I have written, and I wonder if I am not deranged. There is such a distance between the words and the events. And a greater distance between my feelings and the events. My feelings are closer to the words. I have never felt close to the events, because I have never controlled them. Someone else has written the play. I wish I could think it was God. I merely take my place on the stage. I wish whoever was writing the action would send the Congressman to call.

If I will not play the role in London, Debt sees no reason for us to quit the country. If I am to remain colored, I can remain colored just as easily here. According to him! I don't believe colored is easy anywhere. But I'm pleased to be spared the sea voyage. Again I remember stories from the quarters when I was young and stories from the docks in Charleston, stories of men and women and children chained into the bowels of ships. I hear them crying down the century. There is a song that came from the ships. I heard the story. The slaves sang some old tune and the ship was lost at sea. The owner was a slaver from way back and deep in his soul his conscience clean. But the ship got caught up in a storm where storms don't come, and he thought he saw the hand of God when the lightning cracked in the darkness. And he prayed to God to save him. And God spoke to him. God said, "I ain't saving you ifn' I don't save the ship. And I ain't saving the ship lessen I save the Daddys, and I ain't saving the Daddys without the Mammas and I don't need the Mammas less I save the babies. You is less to me than spit. But if I save the babies, I'll save the Mammas." And God saved them all, and the man did not forget, Amazing grace! How sweet the sound of the slaves singing that saved a wretch like me. He once was lost but now he's found, was blind but now he sees. That happened to an Englishman; let it happen to me. Please Lord, let me see what it is that I want.

I woke up this morning and some strands of my hair were on my pillow, the red butterfly was on my face, and my bones ached where they came together, like somebody was splitting kindling on me, and I am tired. I am shaking when Rosie comes for a fitting; she gives me the address of an old conjure woman born herself on African soil who lives just on the east side of the Capitol building. The conjure woman tells me to lie down in a dark room, and I do. I'm like one of those creatures from the swamp, one of those ghosts who only ride at night. I sleep in the day and come out in the darkness.

Debt says we are to marry before we go home. I am too weak to say anything but yes.

Today was my wedding day. Strangers stood up for us. I believe they played Mendelssohn's wedding march.
Rosie sewed my dress and didn't say a word. It was the golden color of sweet cream. When R. slipped the gold band onto my finger, I thought, I wish this had happened a long time ago—when I was still in love with Planter, when I still begrudged her every kiss she had off him. We return to Cotton Farm for the wedding trip. He says, "We should be home for Christmas." Where does he think that is?

Tata rises from the middle of Cotton Farm surrounded by its fields of sorrow. It is hard to get out of the carriage in this territory of truth and illusion.

The wide front doors are flanked by windows—sidelights, we call them. Over the door is the half-circle of a red Venetian glass fanlight; the diamond-shaped muntins surrounding the front door hold blue glass. "Muntins"; Lady taught me that word. I was born in a world of colored light and flickering shadows. I was born in the kitchen of a great house.

Garlic was waiting at the door. Outside it, really. He had on just his own new clothes, but he stood ramrod straight, as he had in his old before-the-freedom livery. After dinner Debt ceremoniously gave me the keys to the house, the house he had inherited from Other. Later that night Garlic took them from me. "Did you dream of this when you first came here?" I had to ask him that. Age had not stooped him. But when he stood with a hand tucked inside his shirt, it brought to mind Mr. Napoleon Bonaparte. "What didn't we dream of?" he responded. "What didn't we dream?"

We took supper in the dining room. Debt was irritated by every manner of small thing. He squinted at the bright light coming through the window where no curtains hung. And we shivered in the cold. "I'll burn this place to the ground it we can't get things 'round here the way they need to be for folks to live in it," R. roared. Garlic said, "Gold damask would suit the room well, sir." I agreed, and R. approved the funds for this and other renovations.

Some things were the same—the cool tile floor, alternating diamonds of light and darker gray, and, outside, a planting of periwinkle, a small evergreen vine that bears blue flowers, the scent of periwinkle and flowering almond reminding me of when I was his Cinnamon and she was his coffee.

I visited the cemetery today. I stood over the grave of my mother, then of my half-sister; I stood over the grave of my father, Planter. And then I knelt at the little boys' graves, the graves of his sons. Shall I always wonder if my mother and Garlic killed those children? And will I ever know? I asked Garlic directly, and he answered, "If we didn't, it was because we didn't have to." Sons would have challenged Garlic's authority over the house. "I wonder what problems I pose to you?" I asked. "None at the present time, none at the present time," he said. Then he stopped and pulled out my father's watch, the one Other had given him. His finger released the mechanism, and the face was revealed. His finger snapped the watch shut. "If you had been my child, this place would be yours, now, yours." Why did it seem so plainly Garlic's to give and take away? I wondered who had planted the tree just up from the gate, the tree that killed Planter when he smashed into it. I wondered how long some folk can watch and wait.

Christmas is coming. In the old days we'd be looking for the Yule logs now. The white folk thought there was only one—as long as the Yule log was burning, it was Christmas and nobody was whipped and nobody really worked 'cept those in the house. That was our hard times: when the house was full of guests needing cooking and looking after all the night, even the night before Christmas, but it was good foods and smells for kitchen folk too, and the field folk had a holiday by taking their rest. While the Yule log burned, things were different. So one log burned in the big house and another burned way out in the quarters. Out there somebody tended the ghost fire, burning the second log and maybe a third, to within an inch of the big house log—an inch bigger, an inch longer—but something close to it. We would trade the bigger log for the smaller. That way we kept Christmas longer.