T. Boyle - Tooth and Claw

“I don’t have that information,” the nurse says, and her voice is neutral, robotic even. This is not her daughter. Her daughter’s at home, asleep in a pile of teddy bears, pink sheets, fluffy pillows, the night light glowing like the all-seeing eye of a sentinel.

I can’t help myself. It’s that neutrality, that maddening clinical neutrality, and can’t anybody take any responsibility for anything? “What information do you have?” I say, and maybe I’m too loud, maybe I am. “Isn’t that your job, for Christ’s sake, to know what’s going on here? You call us up in the middle of the night — our daughter’s hurt, she’s been in an accident, and you tell me you don’t have any fucking information ?”

People turn their heads, eyes burn into us. They’re slouched in orange plastic chairs, stretched out on the floor, praying, pacing, their lips moving in silence. They want information too. We all want information. We want news, good news: it was all a mistake, minor cuts and bruises — contusions, that’s the word — and your daughter, son, husband, grandmother, first cousin twice removed will be walking through that door over there any minute…

The nurse drills me with a look, and then she’s coming out from behind the desk, a short woman, dumpy — almost a dwarf — and striding briskly to the door, which swings open on another room, deeper yet. “If you’ll just follow me, please,” she says.

Sheepish suddenly, I duck my head and comply, two steps behind Maureen. This room is smaller, an examining room, with a set of scales and charts on the walls and its slab of a table covered with a sheet of antiseptic paper. “Wait here,” the nurse tells us, already shifting her weight to make her escape. “The doctor’ll be in in a minute.”

“What doctor?” I want to know. “What for? What does he want?”

But the door is already closed.

I turn to Maureen. She’s standing there in the middle of the room, afraid to touch anything or to sit down or even move for fear of breaking the spell. She’s listening for footsteps, her eyes fixed on the other door, the one at the rear of the room. I hear myself murmur her name, and then she’s in my arms, sobbing, and I know I should hold her, know that we both need it, the human contact, the love and support, but all I feel is the burden of her — there is nothing or no one that can make this better, can’t she see that? I don’t want to console or be consoled. I don’t want to be touched. I just want my daughter back, that’s all, nothing else.

Maureen’s voice comes from so deep in her throat I can barely make out what she’s saying. It takes a second to register, even as she pulls away from me, her face crumpled and red, and this is her prayer, whispered aloud: “She’s going to be all right, isn’t she?”

“Sure,” I say, “sure she is. She’ll be fine. She’ll have some bruises, that’s for sure, maybe a couple broken bones even…” and I trail off, trying to picture it, the crutches, the cast, Band-Aids, gauze: our daughter returned to us in a halo of shimmering light.

“It was a car,” she says. “A car, Ted. A car hit her.”

The room seems to tick and buzz with the fading energy of the larger edifice, and I can’t help thinking of the congeries of wires strung inside the walls, the cables bringing power to the X-ray lab, the EKG and EEG machines, the life-support systems, and of the myriad pipes and the fluids they drain. A car. Three thousand pounds of steel, chrome, glass, iron.

“What was she even doing walking like that? She knows better than that.”

My wife nods, the wet ropes of her hair beating at her shoulders like the flails of the penitents. “She probably had a fight with Kimberly, I’ll bet that’s it. I’ll bet anything.”

“Where is the son of a bitch?” I snarl. “This doctor — where is he?”

We are in that room, in that purgatory of a room, for a good hour or more. Twice I thrust my head out the door to give the nurse an annihilating look, but there is no news, no doctor, no nothing. And then, at quarter past two, the inner door swings open, and there he is, a man too young to be a doctor, an infant with a smooth bland face and hair that rides a wave up off his brow, and he doesn’t have to say a thing, not a word, because I can see what he’s bringing us and my heart seizes with the shock of it. He looks to Maureen, looks to me, then drops his eyes. “I’m sorry,” he says.

WHEN IT COMES, the meteor will punch through the atmosphere and strike the Earth in the space of a single second, vaporizing on impact and creating a fireball several miles wide that will in that moment achieve temperatures of 60,000 degrees Kelvin, or ten times the surface reading of the sun. If it is Chicxulub-sized and it hits one of our landmasses, some two hundred thousand cubic kilometers of the Earth’s surface will be thrust up into the atmosphere, even as the thermal radiation of the blast sets fire to the planet’s cities and forests. This will be succeeded by seismic and volcanic activity on a scale unknown in human history, and then the dark night of cosmic winter. If it should land in the sea, as the Chicxulub meteor did, it would spew superheated water into the atmosphere instead, extinguishing the light of the sun and triggering the same scenario of seismic catastrophe and eternal winter, while simultaneously sending out a rippling ring of water three miles high to rock the continents as if they were saucers in a dishpan.

So what does it matter? What does anything matter? We are powerless. We are bereft. And the gods — all the gods of all the ages combined — are nothing but a rumor.

THE GURNEY IS the focal point in a room of gurneys, people laid out as if there’s been a war, the beaked noses of the victims poking up out of the maze of sheets like a series of topographic blips on a glaciated plane. These people are alive still, fluids dripping into their veins, machines monitoring their vital signs, nurses hovering over them like ghouls, but they’ll be dead soon, all of them. That much is clear. But the gurney, the one against the back wall with the sheet pulled up over the impossibly small and reduced form, this is all that matters. The doctor leads us across the room, talking in a low voice of internal injuries, a ruptured spleen, trauma to the brain stem, and I can barely control my feet. Maureen clings to me. The lights dim.

Can I tell you how hard it is to lift this sheet? Thin percale, and it might as well be made of lead, iron, iridium, might as well be the repository of all the dark matter in the universe. The doctor steps back, hands folded before him. The entire room or triage ward or whatever it is holds its breath. Maureen moves in beside me till our shoulders are touching, till I can feel the flesh and the heat of her pressing into me, and I think of this child we’ve made together, this thing under the sheet, and the hand clenches at the end of my arm, the fingers there, prehensile, taking hold. The sheet draws back millimeter by millimeter, the slow striptease of death — and I can’t do this, I can’t — until Maureen lunges forward and jerks the thing off in a single violent motion.

It takes us a moment — the shock of the bloated and discolored flesh, the crusted mat of blood at the temple and the rag of the hair, this obscene violation of everything we know and expect and love — before the surge of joy hits us. Maddy is a redhead, like her mother, and though she’s seventeen, she’s as rangy and thin as a child, with oversized hands and feet, and she never did pierce that smooth sweet run of flesh beneath her lower lip. I can’t speak. I’m rushing still with the euphoria of this new mainline drug I’ve discovered, soaring over the room, the hospital, the whole planet. Maureen says it for me: “This is not our daughter.”