Charles De Lint: The Ivory and the Horn

I never thought much about pride back in those days, though I guess I had my share. Maybe I was just white trash to whoever passed me on the street, but I kept myself cleaner than a lot of those paying taxes and what I had then sure beat the hell hole I grew up in.

I hit the road when I was twelve and never looked back because up until then family was just another word for pain. Physical pain, and worse, the kind that just leaves your heart feeling like some dead thing is caught inside your chest. You know what pigeons look like once the traffic's been running over them for a couple of weeks and there's not much left except for a flat bundle of dried feathers that hasn't even got flies buzzing around it anymore?

That's like what I had in my chest until I ran away.

I was one of the lucky ones. I survived. I didn't get done in by drugs or selling my body. Shirley took me in under her wing before the lean men with the flashy suits and too much jewelry could get their hands on me. Don't know why she helped me— maybe when she saw me she was remembering the day she was just a kid stepping off a bus in some big city herself. Maybe, just looking at me, she could tell I'd make a good apprentice.

And then, after five years, I got luckier still— with a little help from the Grasso Street Angel and my own determination.

I was so proud of myself for doing the right thing: I got the family off the street. I was straightening out my life. I rejoined society— not that society seemed to care all that much, but I wasn't doing it for them anyway. I was doing it for Tommy and the dogs, for myself, and so that one day maybe I could be in position to help somebody else, the way that Angel does out of her little storefront office on Grasso, the way that Shirley helped me.

I should've known better.

We've got a real place to live in— a tenement on Flood Street just before it heads on into the Tombs, instead of a squat. I had a job as a messenger for the QMS— the Quicksilver Messenger Service, run by a bunch of old hippies who got the job done, but lived in a tie-dyed past. Evenings, four times a week; I was going to night school to get my high school diploma.

But I just didn't see it as being better than what we'd had before. Paying for rent and utilities, food and for someone to come in to look after Tommy, sucked away every cent I made. Maybe I could've handled that, but all my time was gone too. I never really saw Tommy anymore, except on the weekends and even then I'd have to be studying half the time. I had it a little easier than a lot of the other people in my class because I always read a lot. It was my way of escaping— even before I came here to live on the streets.

Before I ran away I was a regular at the local library— it was both a source of books and refuge from what was happening at home. Once I got here, Shirley told me about how the bookstores strip the covers off paperbacks and just throw the rest of the book away, so I always made sure I stopped by the alleys in back of their stores on garbage days.

I hadn't read a book in months. The dogs were pining— little Rexy taking it the worst. He's just a cat-sized wiry-haired mutt with a major insecurity problem. I think someone used to beat on him, which made me feel close to him, because I knew what that was all about. Used to be Rexy was like my shadow; nervous, sure, but so long as I was around, he was okay. These days, he's just a wreck, because he can't come on my bike when I'm working and they won't let me bring him into the school.

The way things stand, Tommy's depressed, the other dogs are depressed, Rexy's almost suicidal, and I'm not in any great shape myself. Always tired, impatient, unhappy.

So I really needed to meet a ghost in the Tombs right about now. It's doing wonders for my sense of sanity— or rather lack thereof, because I know I wasn't dreaming that night, or at least I wasn't asleep.

3

Everybody's worried about me when I finally get home— Rexy, the other dogs, Tommy, my landlady, Aunt Hilary, who looks after Tommy— and I appreciate it, but I don't talk about where I've been or what I've seen. What's the point? I'm kind of embarrassed about anybody knowing that I'm feeling nostalgic for the old squat and I'm not quite sure I believe who I saw there anyway, so what's to tell?

I make nice with Aunt Hilary, calm down the dogs, put Tommy to bed, then I've got homework to do for tomorrow night's class and work in the morning, so by the time I finally get to bed myself, Shirley's maybe-ghost is pretty well out of my mind. I'm so tired that I'm out like a light as soon as my head hits the pillow.

Where do they get these expressions we all use, anyway? Why out like a light and not on like one? Why do we hit the pillow when we go to sleep? Logs don't have a waking/sleeping cycle, so how can we sleep like one?

Sometimes I think about what this stuff must sound like when it gets literally translated into some other language. Yeah, I know. It's not exactly Advanced Philosophy 101 or anything, but it sure beats thinking about ghosts, which is what I'm trying not to think about as I walk home from the subway that night after my classes. I'm doing a pretty good job, too, until I get to my landlady's front steps.

Aunt Hilary is like the classic tenement landlady. She's a widow, a small but robust grey-haired woman with more energy than half the messengers at QMS. She's got lace hanging in her windows, potted geraniums on the steps going down to the pavement, an old black-and-white tabby named Frank that she walks on a leash. Rexy and Tommy are the only ones in my family that Frank'll tolerate.

Anyway, I come walking down the street, literally dragging my feet I'm so tired, and there's Frank sitting by one of the geranium pots giving me the evil eye— which is not so unusual— while sitting one step up is Shirley— which up until last night I would have thought was damned well impossible. Tonight I don't even question her presence.

"How's it going, Shirl?" I say as I collapse beside her on the steps.

Frank arches his back when I go by him, but deigns to give my shoulder bag a sniff before he realizes it's only got my school books in it. The look he gives me as he settles down again is less than respectful.

Shirley's leaning back against a higher step. She's got her hands in her pockets, clickety-clickety-click, her hat pushed back from her forehead. Her rosehip-and-licorice scent has to work a little harder against the cloying odor of the geraniums, but it's still there.

"Ever wonder why there's a moon?" she asks me, her voice all dreamy and distant.

I follow her gaze to where the fat round globe is ballooning in the sky above the buildings on the opposite side of the street. It looks different here than it did in the Tombs— safer, maybe— but then everything does. It's the second night that it's full, and I find myself wondering if ghosts are like werewolves, called up by the moon's light, only nobody's quite clued to it yet. Or at least Hollywood and the authors of cheap horror novels haven't.

I decide not to share this with Shirley. I knew her pretty well, but who knows what s going to offend a ghost? She doesn't wait for me to answer anyway.

"It's to remind us of Mystery" she says, "and that makes it both a Gift and a Curse."

She's talking like Pooh in the Milne books, her inflection setting capital letters at the beginning of certain words. I've never been able to figure out how she does that. I've never been able to figure out how she knows so much about books, because I never even saw her read a newspaper all the time we were together.

"How so?" I ask.

"Grab an eyeful," she says. "Did you ever see anything so mysteriously beautiful? Just looking at it, really Considering it, has got to fill the most jaded spirit with awe."