Anne Rice: Merrick

I had noted that Aaron could not bring himself to question her further on the matter of his role in the dream, the date of Great Nananne's imminent death. He had nodded, however, and once again, with both hands he'd lifted her hair back from her damp neck where a few errant tendrils had clung to her soft creamy skin.

Aaron had regarded her with honest wonder as she had gone on with her tale.

"First thing I knew after that dream, there was an old colored man and a truck ready to take me, and he said, 'You don't need your bag, you just come as you are,' and I climbed up into the truck with him, and he drove me all the way out here, not even talking to me, just listening to some old Blues radio station and smoking cigarettes the whole way. Great Nananne knew it was Oak Haven because Mr. Lightner told her in the dream....

"Great Nananne knew of Oak Haven of the old days, when it was a different kind of house with a different name. Oncle Julien told her lots of other things, but she didn't tell me what they were. She said, 'Go to them, The Talamasca; they'll take care of you, and it will be the way for you and all the things that you can do.' "

It had chilled: all the things that you can do. I remember Aaron's sad expression. He had only given a little shake of his head. Don't worry her now, I'd thought a bit crossly, but the child had not been perturbed.

Oncle Julien of Mayfair fame was no stranger to my memory; I had read many chapters on the career of this powerful witch and seer, the one male in his bizarre family to go against the goad of a male spirit and his female witches over many hundreds of years. Oncle Julien—mentor, madman, cocksman, legend, father of witches—and the child had said that she had come down from him.

It had to be powerful magic, but Oncle Julien had been Aaron's field, not mine.

She had watched me carefully as she spoke.

"I'm not used to people believing me," she'd said, "but I am used to making people afraid."

"How so, child?" I had asked. But she had frightened me quite enough with her remarkable poise and the penetration of her gaze. What could she do? Would I ever know? It had been worth pondering on that first evening, for it was not our way to encourage our orphans to give full vent to their dangerous powers; we had been devoutly passive in all such respects.

I had banished my unseemly curiosity and set to memorizing her appearance, as was my custom in those days, by looking very carefully at every aspect of her visage and form.

Her limbs had been beautifully molded; her breasts were already too fetching, and the features of her face were large, all of them—with no unique hint of the African-large her well-shaped mouth, and large her almond eyes and long nose; her neck had been long and uncommonly graceful, and there had been a harmony to her face, even when she had fallen into the deepest thought.

"Keep your secrets of those white Mayfairs," she had said. "Maybe someday we can swap secrets, you and me. They don't even know in these times that we are here. Great Nananne said that Oncle Julien died before she was born. In the dream, he didn't say a word about those white Mayfairs. He said for me to come here." She had gestured to the old glass photographs. "These are my people. If I'd been meant to go to those white Mayfairs, Great Nananne would have seen it long before now." She'd paused, thoughtfully. "Let's us just talk of those old times."

She'd spaced the daguerreotypes lovingly on the mahogany table. She made a neat row, wiping away the crumbly fragments with her hand. And at some moment, I'd noted that all the little figures were upside down from her point of view, and right side up for Aaron and for me.

"There've been white people kin to me that have come down here and tried to destroy records," she said, "You know, tear the page right out of the church register that says their great-grandmother was colored. Femme de couleurfibre, that's what some old records say in French.

"Imagine tearing up that much history, the page right out of the church register with all those births and deaths and marriages, and not wanting to know. Imagine going into my great-great oncle's house and breaking up those pictures, pictures that ought to be someplace safe for lots of people to see."

She had sighed, rather like a weary woman, gazing down into the worn shoe box and its trophies.

"Now I have these pictures. I have everything, and I'm with you, and they can't find me, and they can't throw all these things away."

She had dipped her hand into the shoe box again and taken out the cartes de visite —old photographs on cardboard from the last decades of the old century. I could see the high slanted letters in faded purple on the backs of these latest pictures as she turned them this way and that.

"See, this here is Oncle Vervain," she said. I had looked at the thin, handsome black-haired young man with the dark skin and light eyes like her own. It was rather a romantic portrait. In a finely tailored three-piece suit, he stood with his arm on a Greek column before a painted sky. The picture was in rich sepia. The African blood was plainly present in the man's handsome nose and mouth.

"Now, this is dated 1920." She turned it over once, then back again, and laid it down for us to see. "Oncle Vervain was a Voodoo Doctor," she said, "and I knew him well before he died. I was little, but I'll never forget him. He could dance and spit the rum from between his teeth at the altar, and he had everybody scared, I can tell you."

She took her time, then found what she wanted. Next picture.

"And you see here, this one?" She had laid down another old photograph, this time of an elderly gray-haired man of color in a stately wooden chair. "The Old Man is what they always called him. I don't even know him by any other name. He went back to Haiti to study the magic, and he taught Oncle Vervain all he knew. Sometimes I feel Oncle Vervain is talking to me. Sometimes I feel he's outside our house watching over Great Nananne. I saw the Old Man once in a dream."

I had wanted so badly to ask questions, but this had not been the time.

"See here, this is Pretty Justine," she had said, laying down perhaps the most impressive portrait of all—a studio picture on thick cardboard inside a sepia cardboard frame. "Pretty Justine had everybody afraid of her." The young woman was indeed pretty, her breasts flat in the style of the 1920s her hair in a bob, her dark skin quite beautiful, her eyes and mouth slightly expressionless, or perhaps evincing a certain pain.

Now came the modern snapshots, thin and curling, the work of common enough hand-held cameras of the present time.

"They were the worst—his sons," she had said as she pointed to the curling black-and-white picture. "They were Pretty Justine's grandchildren, all white and living in New York. They wanted to get their hands on anything that said they were colored and tear it up. Great Nananne knew what they wanted. She didn't fall for their soft manners and the way they took me downtown and bought me pretty clothes. I still have those clothes. Little dresses nobody ever wore and little shoes with clean soles. They didn't leave us an address when they left. See, look at them in the picture. Look how anxious they are. But I did bad things to them."

Aaron had shaken his head, studying the strange tense faces. As the pictures had disquieted me, I had kept my eyes on the womanish child.

"What did you do, Merrick?" I had asked without biting my tongue wisely.

"Oh, you know, read their secrets in their palms and told them bad things they'd always tried to cover up. It wasn't kind to do that, but I did it, just to make them go away. I told them our house was full of spirits. I made the spirits come. No, I didn't make them come. I called them and they came as I asked. Great Nananne thought it was funny. They said, 'Make her stop,' and Great Nananne said, 'What makes you think I can do that?' as if I was some wild creature that she couldn't control."