Chris Abani - Song for Night

I came here from the river, from that gruesome scene of brimstone, because while making my way through the forest, I heard the whistle of a train. If I can hitch a ride it should make my progress faster. But now that I am here I wonder if it is the right decision. Around me, darkness covers everything in a thick blanket of peppercorns. Occasionally the wind moves a cloud and the moon spills silver over the black. That’s how I see the slow snake of the train approaching. By the time it reaches me, I am crouched by the track. The train moves slowly and it is easy to get a foothold and pull myself up. The cargo car I am now hunched in is empty, but I can smell straw and animals. Through the open door I can see more villages as we pass: huts crouching into the ground; orchards flowering in sweet scents; ponds; the river again; forests; more huts; a town with electricity, the neon somehow vulgar in light of the war, the music blaring in apologetic spurts; a straggly line of refugees walking, hugging the tree line, heading for some still distant hope.

The train begins to slow and pulls to a stop in a deserted station. Dawn is just ripping night’s fabric, stars dropping as dew. A flickering storm lantern sways gently from the station-master’s quarters, its light already diffused by the birthing sun. I know I have to get off here.

In the fragile sunlight, a woman is standing on the platform, scrutinizing the train. Her head jerks every time a door opens, but she turns away when she sees me and makes the sign of the cross. I cannot speak, and with her back turned she cannot see me sign, so I have no way of reassuring her. Something in the way she stands reminds me of myself, always searching for something.

I step from the platform onto the dusty road littered with tank carcasses like an elephant graveyard. When I turn back to look at the station, by some trick of the light the train has rusted over, the station fallen into ruin, and the bombed-out track coiled in on itself like spaghetti and covered in vegetation that crawls everywhere in a rush of green. I know it can’t be true though, I just came from there.

Mirages are common here, I think, shaking it off.

Out of a nightmare sometimes a good dream is born. Twice since she died I have met Ijeoma in dreams. Perhaps the third time will be in the afterlife. Walking in this silence, the solitude of early morning that in a different time, a better time, would be full of the ritual of coffee, a time when even songbirds are still, I feel alone in the world. Yet it is not a sadness I feel. This morning, unaccountably, I am filled with an almost unbearable lightness. This light comes not from a sudden wholeness on my part, but from the very wounds I carry on my body and in my soul. Each wound, in its particular way, giving off a particular and peculiar light.

I wipe my fingers across my eyes repeatedly, the equivalent of saying, I don’t believe it , if I could talk. The road before me suddenly sheers away, ending abruptly in a cliff. I come to a halt on the edge and stare into an impenetrable darkness. There is something sinister about this particular darkness, as though every childhood fear I have is woven into its very fiber. I sit on a log by the roadside. Behind me, in the distance, I can make out the disused station and the rusting vine-covered train. In front of me is the darkness. I do what I always do in moments of doubt, I light a cigarette. As I inhale, I think what a funny thing this habit has become. It is one I cannot do without and yet three years ago I didn’t smoke. My parents (even my hated step-father) would have gone berserk if they knew I was smoking. I remember a song I heard in boot camp, War! Huh! What is it good for … but instead of saying, Absolutely nothing , we’d add a phrase we like. I sing in my head. War! Huh! What is it good for? American cigarette companies! But it doesn’t distract me for long and my mind returns to the anomaly in front of me.

I don’t remember there being a cliff here. Not that I am sure I remember where I am, even though the sign at the train station was the same one I saw when I rode the train of death down from the north. Anyway, why would anyone build a road that leads to a dead end at a cliff edge? Apart from the obvious danger, it just doesn’t make sense. I know the road wasn’t bombed out because the darkness is too wide for any bomb we currently have. Only a nuclear bomb could do this much damage and I doubt either side has one, and even if we did and it had been used, the mushroom cloud would have been visible for miles, a tumor against the sky.

No, I decide, I am hallucinating. I must be. I scratch the cemetery on my arm and tell myself that if I put one foot into the darkness, it would disappear. I tell myself that this is only the shape of my guilt: guilt for all the lives I’ve lost or taken, guilt for letting my platoon down, guilt for losing my mother, for leaving her to die for me while I hid in the ceiling like a little coward.

I try to summon all the light that filled me moments ago. Light I need to cross the darkness. Still afraid and with no more light, I step over the edge of the cliff. The darkness vanishes and I am back on the road.

Ahead of me, a woman walks, a coffin balanced precariously on her head, her hips swaying with the effort, and yet poised, graceful even.

Mother?

In thirty years, my mother’s dreams had never lied. Though I only knew her for twelve of those years, and though she probably didn’t mean them to, all her prophesies came true.

I know exactly when I began to think of her only in general terms. It was the morning of the day the imam died. Arising with dawn’s fragile mist, she walked into the living room, straight to the sideboard that held all our photographs, and draped the imam’s photograph with a black ribbon of mourning. I suppose you can say that my mother was a witch and in an older time, a rope around the neck would have tested her innocence.

This new prophesy came in the middle of the imam’s latest fast and he had been in the mosque for days. It was inconceivable to either of us to tell him, to disturb his communion with angels and jinn. That morning as she went about the making of breakfast, her tears fell freely, if silently, over-salting the eggs and making the milk turn rancid so that the eucalyptus tea became undrinkable. If we were back in the south, with Grandfather, mother might have been able to work some counterspell, but the imam’s faith forbade anything not of the one God, be it Christian or Muslim. For him, there was little difference, believing that both religions were brothers of the one father; a pair from the triplets— Judaism, Christianity, and Islam — a weird kind of trinity. But here, mother was denied even the mercy of a dried chicken heart that when clutched in a cooling palm could be used to ward off demons, so she spent that day watching in silent terror their bald-headed approach. Now I wonder if she was crying also for the more distant future she saw coming. If I blamed her, blame her, I blame the imam equally for his own death. The seed of it was his greatest arrogance, the belief that he knew the will of the unknowable. Grandfather always said that believers are like unschooled children holding onto the essence of a truth merely because they have spoken it. But now that I have seen a soul all brittle and flaky like coughed-up biscuit crumbs leave a man, blame is not so easy to lay on another.

All that day and into the night, my mother knelt before her altar, before the icon of the Virgin, before the candles burning, and rolled her rosary between her hands, beating her chest and calling for mercy, for some intercession. As I watched her, I realized that she could see death, and I too, and it wasn’t some ugly skeleton with a scythe — death is a beautiful woman, eyes soft from morning dew, lips pulled back in the saddest smile, praying at an altar for her husband’s life.