James Ellroy - The Best American Noir of the Century

Molly was furious that Sheriff Travis hadn’t died. She stood in my room, kicking my bed so hard that the wall shook and the first mate sign fell down with a clunk.

“Why?” she said in a loud voice. “Why couldn’t he have died?”

I thought about her hungry blue stone while she kicked my bed some more, until my father came to the door and said, “Everything OK in here?”

“Yes, sir,” she replied. “We were just kicking the bed.”

“Well, please don’t.”

“Yes, sir,” she said, blushing. I looked at the sunlight on the carpet and wanted my father to leave. Don’t make her angry, I was thinking.

When he was gone she said, “It’s just not fair.”

I thought it would be many more months before she returned for me at night. I thought we would lie low, but she came back after only two weeks had passed, at the beginning of the second week of January. She had been in Florida with her grandparents over break, while a bitter cold descended over the Atlantic coast from New York to Richmond. The river and even parts of the Chesapeake were frozen over. She came for me the first night she was back.

When we went down the ravine to Beach Road, I thought for sure we were going to Sheriff Travis’s house, to finish him off. But upon reaching the road she crossed it and stepped over the riverbank, onto the ice. She turned back to me. “Come on,” she said, sliding over the ice in her rubber boots. She went past the pier and the boat slips, out to the wide center of the river. Her voice came drifting back to me: “Don’t be such a slowpoke.” I hurried after the place where I thought her voice was coming from, but I never caught up with her — perhaps she was hiding from me. It was a clear yet moonless night, and she was wearing a dark coat and a dark hat. I stopped after a while and wrapped my arms around myself. I was cold because my parents were both home and I had not dared go down for my coat. Instead I had worn two sweaters, but they weren’t enough to keep me warm. I knelt on the ice and looked down at it, trying to catch Colm’s image. I heard Molly’s boots sliding over the ice out in the dark, and I thought about a story people told about the ghost of a girl who drowned skating across the river to Westport, to see her boyfriend. On nights like this, people said, you could see her, a gliding white figure. If you saw her face you would die by water one day. I looked downriver, searching for either the ghost or Molly but seeing only the lights of the bridges down past Annapolis. There was a flash, and for a moment I thought it was the winter equivalent of heat lightning, until I heard the Polaroid whirring.

She took my picture again, and again, from different sides. I suppose she was trying to upset me, or make me afraid. Maybe she thought I would run and slip on the ice. I just knelt there, and then I lay down on my back and looked up at the stars. My father had shown me the constellation of Gemini. It was the only one I ever looked for; and though I didn’t see it then, I made out my brothers shape in any number of places. Molly came sliding up to me. She stood behind my head; I could not see her, but I could see her panting breath.

I thought she would speak, then. In my mind I had heard her speak this speech; I had played it out many times: “I need you,” she would say. “For my parents. They’re stuck in here and I must let them out. You don’t mind, do you?” Of course I didn’t. I would have told her so, if I could have. I had been expecting her to say this ever since she had stabbed the horse, because I didn’t know what animal she could turn to after that, besides me. That night Colm had said to me, “So soon!” But it was not so soon, and I had waited.

She didn’t say anything, though. She only knelt near me and put a hand on my belly. She wasn’t smiling, just breathing hard. The camera hung around her neck and the dagger was in her hand. She raised my sweaters and my pajama top so that I felt the cold on my skin and the goose bumps it raised. She put the tip of the dagger against my belly, and when she looked at me I was so tempted to speak.

“Goodbye,” she said, and gently slipped it in. I heard my brother’s voice ring in my head: “Now!” For just a moment, as I felt the metal enter me, I wanted it, and I was full of joy; but a tall wave of pain crashed over me and washed all the joy away. A cresting scream rose in me and broke out of my mouth, the loudest sound I had ever heard, louder than Sheriff Travis’s scream, louder than my father’s scream, louder than any of the dogs or cats or rabbits. It flew over the ice in every direction and assaulted people in their homes. I saw windows lighting up in the hills above the river as I scrambled to my feet, still screaming. Molly had fallen back, her face caught in a perfect expression of astonishment. I turned and ran from her, not looking back to see if she was chasing me, because I knew she was. I ran for my life, sliding on the ice, expecting at any moment to feel her bodkin in my back. I cried out again when I climbed over the sea wall and ran across the road, because of the pain as I lifted myself. I clambered up the ravine, hearing her behind me. On the spruce that led to my bedroom she caught me, stabbing my dangling calf, and I fell. She came at me again, and I kicked at her; she didn’t make a sound. I held my hands out before me and she stabbed them. With a bloody fist I smashed her jaw and knocked her down. I got up the tree and into my room, too afraid to turn and close the window. I rushed down the stairs into my parents’ bedroom, where I slammed the door behind me and woke them with my hysterical screaming. My mother turned on the light. Despite my long silence the words came smoothly, up from my leaking belly, sliding like mercury through my throat and bursting in the bright air of their room.

“I want to live!” I told them, though my heart broke as I said it; Colm’s image appeared in the floor-length mirror on the opposite side of the bed. He was bloody like me, wounded. He looked at me as my parents jumped out of bed with their arms out, their faces white with horror at the sight of me. I cried great heaving, house-shaking sobs, not because of the pain of my wounds, or because my parents were crying, or because I knew Molly was on her way back to the river, where she would turn her knife on herself and at last take a human life for her soul-eating dagger. I didn’t cry like that over the animals and people, now that I knew just how much a knife hurt, though I did feel guilty. And I wasn’t crying at my pending betrayal of Molly, though I knew I would say I had no part in any of it and there would be no proof that I had. I cried because I saw Colm shake his head, then turn his back on me and walk away, receding into an image that became more and more my own until it was mine completely. I knew it would speak to me only with my own voice, and look at me with my own eyes, and I knew that I would never see my brother again.

Bradford Morrow (1951-) was born in Baltimore, Maryland, but grew up in Colorado, receiving a BA from the University of Colorado, then undertaking graduate studies at Yale University. He traveled for the next ten years and worked in various jobs, including as a jazz musician, translator, rare-book seller, and medical assistant. He has taught at Princeton, Brown, and Columbia, and has been a professor of literature at Bard College for twenty years, where he has been the editor of Conjunctions, the prestigious literary journal, for its more than fifty issues.

After five volumes of poetry, Morrow turned to the novel; his first, Come Sunday, was published in 1988. The Almanac Branch (1991) was a finalist for the PEN/Faulkner Award. His next novel, Trinity Fields (1994), which the author identified as the first volume of his New Mexico Trilogy, was a finalist for the Los Angeles Times Book Award. Giovanni’s Gift (1997), among readers’ favorites of his books, came next, followed by the second volume of the New Mexico Trilogy, Ariel’s Crossing (2002). He has also written two children’s books: A Bestiary (1991), illustrated by eighteen contemporary American artists, and Didn’t Didn’t Do It (2007), charmingly illustrated by Gahan Wilson.