Nora Keller - Comfort Woman

Beccah-chan latches onto me, her lips and tongue pulling my nipple, one hand kneading my breast as if to make the milk flow faster. The milk comes in too fast; she chokes. My baby breaks away from me, squalling. Her arms stiffen, and little fists strike out at me. She is noisy like her father, not afraid to yell and keep yelling. This must be a lingering effect of the ginseng. I do not know if it is a good thing.

There was no need for me to get up. I lay by the river, already feeling the running water erode the layers of my skin, washing me away, but Induk filled my belly and forced me to my hands and knees. She led me to the double rainbow where virgins climb to heaven and told me to climb. Below me, a river of human-faced flowers stretched so wide and bright I could not keep my eyes open.

She spoke for me: No one performed the proper rites of the dead. For me. For you. Who was there to cry for us in kok, announcing our death? Or to fulfill the duties of yom: bathing and dressing our bodies, combing our hair, trimming our nails, laying us out? Who was there to write our names, to even know our names and to remember us?

And now, said Induk, there is only the dead to guide us. Here, she said, giving me the image of a woman. I saw a fox spirit who haunted the cemeteries of deserted villages, sucking at the mouths of the newly dead in order to taste their otherworld knowledge.

This is Manshin Ahjima, Induk said. Old lady of ten thousand spirits. Go to her, and she will prepare you.

I wanted to say I didn’t know where she lived, but then I saw the exact spot where Manshin Ahjima lived and how to get there. I’d have to cross over the Yalu, scale seven mountain peaks in the deep country, then follow the road to the outskirts of Sinuiju. Through a scattering of gray adobe houses, all identical, I would go to the house fronted with mulberry trees. There I would find the old lady and her ten thousand spirits.

I do not know how long I left my body by the river, stirring periodically with cramps and the need to vomit. It lay in its own filth, moving only to fill its mouth with ginseng and water, the instinct for survival in the blood and bones.

When I finally opened my eyes, I saw not heaven but partially chewed and digested bits of ginseng root in the dirt next to my face. I felt clear and empty, as translucent as the river beside me. Noticing the bleeding between my legs had stopped, I peeled the rags, stiff as scabs, away from my body and, carefully folding them, placed them on some rocks away from the running water. After taking off the rest of my clothes, I waded into the stream and rubbed at the dried blood caked on my legs from groin to calves. The mud-colored flecks turned liquid red in my hands, then dissolved under the patient licking of the river’s tongue.

Rubbing handfuls of small pebbles against my head and skin, I washed my hair and body until I felt raw. I let the cooling air dry me. By the length of the day, I knew that soon it would be the season to replant the stalks of rice in the paddies. When my parents were still alive and I was still a child, everyone in our family worked to grow the rice. Where we lived, there was time only for one planting, one harvest, so everything had to be done quickly and well. As the youngest, I was responsible for feeding the workers their meals of rice and soup, carried to them on trays balanced on my head. When I delivered the food without spilling, I was allowed to play—a function also rooted in practicality; as I jumped through the rows of fragile plants, waving sticks into the air, I kept scavenging birds away from our future meals.

But as I grew and second and third sister were hired on neighboring farms, I took over more of the work. Mother, oldest sister, and I would spend hours bent over the knee-deep silt, our fingers cradling the baby rice, laying them into the oozing earth.

During one season of planting, my mother gave birth to a dead baby. Smaller than one of my mother’s outstretched hands, the infant slipped between her fingers in a gush of blood and sour-smelling fluid. My mother wrapped it in a bundle, packing it neat as a field lunch, before I could see it, but oldest sister saw. It was deformed, Soon Ja whispered. Tail like a tadpole. Or maybe, she added as an afterthought, it was a boy.

We walked with our mother to the river, taking the clothes that needed to be washed. My mother divided up the clothes between my sister and me, and humming under her breath, she walked downriver. We listened to her voice, rising in waves above the rushing of the water, sing the song of the river: Pururun mul, su manun saramdul-i, jugugat-na? Blue waters, how many lives have you carried away? Moot saram-ui seulpumdo hulro hulro sa ganora. You should carry the sorrow of people far, far away.

And as we beat our clothes clean, we watched out of the corners of our eyes as she tightened the knot on her baby’s shroud and set it into the water where the current pulled it down. Into Saja’s mouth, oldest sister told me later in an attempt to torment me. An offering for the gatekeeper of hell.

When I was dry from my bath, I took the rags that had held back my blood and all that was left of my first baby, and instead of throwing them into the water, I planted them in a clean patch of earth next to the stream.

I like to imagine the face of my first child, what she would have looked like had the features evolved from fetus to infant. I imagine her as perfectly formed as my living daughter: her head, her hands, her toes, everything perfect and human-looking, except in miniature. No bigger than my fist, her tiny body crosses in on itself, arms and legs folded over her chest and belly. Her eyes flutter against closed lids, and her mouth opens and closes as she dreams of suckling. I like to imagine my first baby in this way: nestled in the crook of the river’s elbow, nursing at its breast.

Like the rats and cockroaches that ruled The Shacks, Saja the Death Messenger, Guardian of Hell, lived in the spaces between our walls. Each morning before dressing, I inspected the clothes hanging in the closet for the light dusting of gray fur or pawprints, and for the poppy-seed shit or fragile rice-paper skin of molting roaches. In the same way, I looked for indications of the Death Messenger: As I brushed and beat the dresses hanging in the closet, or shook and sifted through the underwear drawer, I unearthed the jade talismans my mother pinned to the insides of my clothes, the packets of salt or ashes she sewed into my panties.

I imagined the Death Messenger as an ugly old man with horns and ulcerous skin, burning yellow eyes and a gaping, toothless mouth that waited to feed ravenously on the souls that lined up in front of our apartment. Our open door was Saja’s gaping mouth, my mother his tongue, sampling each person for the taste of death. The demon waiting to snatch me off to hell if I did not carry a red packeted charm, Saja was the devil my father had preached about and, through my mother’s chants and offerings, became more real to me than my father ever was.

Sometimes when I could not sleep at night, I would hear the murmurings of the people who shared the building with us, or the shrieks of the cars in the street, and I would think, I would know, that it was Saja feeding on the dead. At those times I would squeeze closer to my mother, who continued to sleep, and listen for the true sounds of the night.