East is East

there on the patio before their wondering eyes. Then too, there was sure to be a certain prurient interest in the piece—what did she know about Japanese sex? Had she slept with him? Had she helped him escape? And she’d give them her enigmatic smile, the smile of La Dershowitz, regnant and unassailable, and let it rest. Yes, she’d show them what a reading was all about.

She worked through lunch, worked through the racket of hammering and cutting and banging as Parker Putnam—or was it Putnam Parker?—did his best imitation of a working carpenter. Hunched and sinewy, burned the color of tobacco, he showed up at eleven with a toolbox the size of a small vehicle, claiming in a halting rheumy voice that “Miz Lights” had asked him to come out and clean the place up. It took him most of the afternoon to knock the shards of broken glass out of the windows and nearly an hour just to get the old screen door off the hinges, but she hardly noticed. Normally, he would have driven her crazy, but today she welcomed him—he was there to test her, to lay one more stone atop the cart to see if it would tip over. But it wouldn’t. Her concentration was complete.

It was getting late—four? five?—when he packed up his tools (a process that in itself involved half an hour) and left for the day. The hammering ceased. The splintering of glass, the wheezing and spitting and dull reverberant booming were no more. Silence fell over the studio, and it was then that Ruth felt the first faint stirrings of uncertainty. What if—what if the work was no good, after all? What if they didn’t like it? What if she got up there and froze? She imagined the satisfaction that would give Jane Shine, and she felt her stomach clench. But no, it was hunger, that was all, and she realized in that moment that she’d skipped lunch.

She sat at her desk and ate dutifully—cherry tomatoes fresh from the kitchen garden, salmon mousse with Dijon mustard and a sort of cracker bread Armand had devised himself—and she began to feel better. She thought of her makeup and hair and what she would wear. Nothing pretentious, that was for sure, no lace collars and Edwardian brooches. Jeans and a T-shirt. Earrings. Her aqua heels, the ones that showed off her toes and instep. She would keep it simple. Honest. Genuine. Everything the Shine extravaganza was not. And if the stories weren’t finished, weren’t yet what she wanted them to be, it wouldn’t matter one whit—she was reading sections only, and the sections were strong. The thought lifted her spirits—food, that was all it was—and she felt the strength seeping back into her.

She rose from her desk and gathered up her papers, inserting the new crisply typed pages in an old unpretentious manila folder. The room was still. The sun held in the windows. She was aware for the first time that day of the birds slashing through the shadows, lighting in the bushes, making music for her alone. She was standing there at the window, her back to the door, having one last cigarette before heading back to get ready, when a sudden noise on the front porch startled her. Turning, expecting to see Parker Putnam fumbling around for some tool he’d forgotten, she had a shock: this wasn’t Parker Putnam. It was Septima.

Septima. Ruth’s first thought was that she’d lost her way, an embarrassment of age, but the look in the old lady’s eye told her different. Septima stood there on the doorstep, giving the place a tight-lipped scrutiny, Owen at her side. She was wearing her gardening clothes—a straw sunbonnet, an old smock over a pair of jeans, men’s shoes. “Ruthie,” she called in a voice that sounded harsh and strained, “I hate to disturb you, but I—may I come in?”

Ruth was so surprised she couldn’t answer—Septima made it a strict rule never to visit any of the artists’ studios, out of respect for their privacy, and Hart Crane was a long walk for a woman of her age. Ruth crossed the room wordlessly and swung open the door.

Something was wrong. She could see it in Owen’s face, see it in the way Septima avoided her eyes as she moved past her and lowered herself into the cane rocker. “Whew!” the old woman exclaimed, “this heat! I swear I’ll never get used to it, never. Would you have a glass of water for me, please, Ruthie?”

“Of course,” Ruth said, and she poured a glass for Owen too, who remained standing in the doorway as if he hadn’t really meant to come in. “Thanks, Ruth,” he said, draining the glass in a gulp. “Think I’ll just step outside here a minute and inspect the damage,” he said to the room in general, setting the glass down on the windowsill. He focused on Septima. “You call if you need me.”

When Owen had gone, the screen door tapping gently behind him, Septima lifted her head to give Ruth a long slow look. The air was still, heavy with a premonition of rain. The crepitating sounds of the forest rushed in to fill the silence. “I see Parker’s been here,” Septima said finally.

Ruth nodded. “He was banging around here all day—but it didn’t disturb me, not really. I was lost in my work.”

“It’s a pity,” Septima sighed, and Ruth agreed, though she wondered just what the old woman was referring to—Parker Putnam’s dismal showing, the weather, the danger of being lost in one’s work? “A real pity the way they shot up this place, Theron Peagler and all the rest of them. You’d think they’d know better. And the way they harried that poor Japanese boy—”

Again Ruth nodded. Again the old lady fell silent. Just outside the window a bird hit four notes in quick succession, up and down, up and down.

“Ruthie,” Septima said after a minute, “I’m very sorry for dis-turbin’ you out here, and especially at a time when you’d be workin’ hard to prepare for your readin’, but a matter of the utmost importance has come up.”

Ruth had been fussing round the little room in an unconsciously defensive way, a proprietary way, but now she took hold of the arms of the other rocker and settled into it as if it might come alive at any moment with the shock of 50,000 volts.

“I want to ask you about this Japanese boy—and I want to know the whole truth of the matter. It’s become somethin’ of an embarrassment for the colony, especially since he’s gone and escaped—the phone, Ruthie, has been ringin’ off the hook all day, reporters from New York and Los Angeles, everywhere. Well, I want to know the extent of your involvement—the full extent. I think I have a right to that knowledge, don’t you?”

“Of course,” Ruth insisted, “of course you do, but like I told you—”

Septima cut her off. “You know I’m open-minded, Ruthie, and you know how I feel about the creative atmosphere at Thanatopsis and the artists’ behavior as regards their personal ethics and standards of sexual conduct—”

Ruth could only stare at her.

“Well, when my son told me he was bringin’ home a Jewish girl I didn’t bat an eye—why would I, with all the talented Jewish artists we’ve had here over the years—but I’m gettin’ away from what I want to say altogether. Whether you were more, more intimate with this foreign boy than you allow or not is really not at issue here …” She paused, and the silence could have engulfed ships and swallowed up oceans. “Ruth”—the sound of her own name made Ruth jump, she couldn’t help it—“Ruth, what I want to say is that I had a call from Saxby this afternoon.”

A call from Saxby, a call from Saxby. Yes? And so?

“He was in jail, Ruth. In the Clinch County Jail in Ciceroville.”

“In jail?” Ruth couldn’t have been more surprised had the old woman told her he was taken hostage in Lebanon. “For what?”

Septima gave her a close penetrating look. “My law-yers are seein’ to that, don’t you worry. He’ll be out by this time and that sheriff down there and all the rest of them will be mighty sorry they ever tangled with Septima Lights, believe you me—but that isn’t the point. The point is that they accused him of helpin’ that boy escape and takin’ him in my car, my Mercedes, down to that swamp. The point is, Ruthie, I wonder who put that boy in the trunk of that car and what you want to tell me about it.”

Ruth was stunned. Paralyzed. She could feel her toehold at Thanatopsis slipping, her career in jeopardy, Saxby alienated from her, waitressing looming up like a black hole in her future. “I lied,” she blurted, “I admit it and I’m sorry. But just about Hiro, I mean how much I helped him when he was … was at large. But I swear to you, I had nothing to do with his getting out of that cell, I knew nothing about it—and neither did Sax.”

They sat there for half an hour, and Ruth fed the old woman the bits and crumbs of the truth about Hiro—but she’d never been intimate with him, never, she insisted on that—always circling back to the justification that she’d been using him for a story, for research, for art. That was it: she’d done it for art. And she hadn’t meant any harm. She hadn’t. Really.

When she was finished, the shadows beyond the window had lengthened perceptibly and the chatter of the forest had settled into an evening mode, richer now with the chirp of tree frogs and the booming basso of their pond-dwelling cousins. Owen was at the door. Septima cleared her throat. “They want you to go down there tomorrow, Ruthie—Mr. Abercorn does—and it’s not a request. I know all about that shameful incident on the patio