said Vera. ‘She doesn’t actually cook much. Mostly we eat raw fish.’ She said this to annoy.
Miss Hinchcliffe rolled her eyes. ‘It isn’t my place–’ she began, but Vera could see that she did think it was her place.
‘I don’t think that–’ Vera flipped her plank of long, thin, blonde hair.
No one finished what they began to say.
Vera retreated to the table where the woodcut prints were kept. Someone had put out a set of three. She wondered if her grandfather had been looking at them. Or if he had left them there for her to look at.
‘Did you see those?’ he said, appearing at the door of his office, poking his head in, his large sinking head with the handlebar moustaches still hoisted to the horizontal. ‘Quite lovely. You can spend plenty of time lost in there.’ Idly, as if it didn’t really matter, he turned away.
The three prints had been enclosed in a folder, which lay beside them. On the front of the folder was written, in fading blue ink, in a hand that Vera did not recognise, Three Views of Crystal Water.
James disappeared back into his office, telling her they’d go for coffee in a few minutes, and she was left alone with the pictures.
The first view was of a seashore, seen from the top of a dune, as if an observer were crouched there unseen. Near the edge of the water was a circle of women, standing and sitting. They had built a small fire and it was this that drew them together, as if they were warming themselves. They did not huddle and shiver, but stood, tall, and elegant, revelling in their beauty. The women wore only a loose fabric draped over their hips, leaving belly and breasts bare. They were wet, hair dripping down their bare backs. Around their feet were baskets.
It was strange to name this a view of water, because the women were the interesting part, an even dozen of them, with their gently curved arms and their modesty, which she could feel, despite their nakedness. There was a child with them. The child had a small string bag of shells in her hand and a little three-pronged rake. The child’s clothing matched the women’s red underrobes. They had all covered their heads with a white kerchief with blue leaves. They had been in the water and had come out, and these baskets held their catch, perhaps seashells, or fish, although Vera could see no means of catching fish in the picture.
Yet, she realised, as she continued to look, more than half the picture was water. It was flat and turquoise close in, and, where rocks stood up from the surface, transparent: you could see through to the base of the rocks beneath. But out from this shore, the sea reached from one side of the paper to the other and up to a flat horizon. There were waves drawn on it, hard white lines marching relentlessly one after another. The sea was not easy for the small boats that dotted it.
She put the print aside. In the second print the crystal water was black and without waves. The sky was dark, but Vera guessed it was nearly dawn. There were stars, like pricks of white; the artist had copied these stars into asterisks of white in the water as well. Two people, their faces hidden in travelling robes that half covered kimonos of orange and peacock blue, were on a graceful, arched bridge that crossed a stream of water. Drawn together by equal forces from opposite sides to the highest point of the arch, they seemed to tremble there. They were not facing, but back to back: each had walked a few steps past the other, as if they had tried to pass by, but could not. There was danger in the air, and yearning. The woman reached back, a long tapered hand emerging from her robe; she handed the man a letter.
Vera gazed long and hard at this one. It was a very satisfying picture, with the deep black and the royal blue, and the orange patterns of both the kimonos, and the white letter changing hands. Whatever secret was here was successfully passed; she felt relief.
She lifted that print and put it to the side, revealing the last of the three.
In the third view, there had been a catastrophe. It was snowing and the ground was white. But on the horizon, far back in the picture, a pagoda was in flames, turning the sky orange. A road wound through skeletal trees from the gates of that pagoda down to the centre bottom of the picture, and on that road were two hooded women. One was on horseback; the other stood beside her. They wore black and white cloaks with pointed black hoods that draped over the sides of their faces, half concealing them. The mounted woman held a long spear with a curved blade. Vera understood that she would journey through danger, and must protect herself and her younger charge. Behind them, outside the pagoda gate, was a fearsome warrior in laced armour, brandishing his sword. He was their scourge, or their protector. His skirts flew up revealing thick legs in sandals, and the scabbard from his curved sword.
At first Vera didn’t see the crystal water. But there, under the snow-laden branch of a tree was a stream. Unfrozen, the water bubbled over rocks. Aside from the roaring of the flames it would be the only sound. The women would follow its path to safety.
Vera wondered who had named these Three Views of Crystal Water’. The pictures belonged together, and therefore they must tell a story. But it was not clear where the story began.
She stared at the three prints, making up a story that would put them in order. Twelve women went to the seashore to fish and were seen by a stranger. The stranger fell in love with one of the women; but she was promised, or bound. Her trusted servant met him in the dead of night and gave him a letter telling him to go away, that all was lost. However, he would not go away. Instead he set fire to the pagoda and killed everyone in it except the woman and her servant, who escaped, while he watched over the destruction he had wrought.
‘Ready!’ called James.
That day, they made their way down the few steps, next door to the flatiron building where Roberta presided, the Captain stepping gallantly but perhaps a little more slowly than the season before. Vera could see Roberta turn to warn the waiting others. Because by now it was known on Homer Street that the old merchant would come in. And he had an audience. There was the hatter, and a printer with inky hands, and another few traders, in rugs and fabrics. There was Kemp who also traded with Japan, and sometimes his son. There was Malcolm the mailman, if he’d finished his run. Vera and James nodded to the gathered audience, and went to their booth. Roberta’s fierce hand with her damp cloth swept across the table; they watched her midriff at eye level against the tabletop and heard her voice asking what they would have.
‘The usual,’ James said. And then exclaimed ‘Wet!’ with fresh surprise, as if it had never been wet before. ‘Wet today, Roberta.’ He surveyed the other coffee drinkers, now studying their napkins or gazing out of one window or the other to one street or the other. ‘Quite a crowd here today! Afternoon, Kemp.’
‘If it isn’t Lowinger, of Lowinger and McBean,’ said Kemp. ‘Where’s that son-in-law of yours? I heard he was in Madagascar. No, it was Marrakesh.’
They slid into their chairs. Vera was conscious that they made an odd pair, the old man and the girl.
‘I don’t know,’ said her grandfather. ‘He hasn’t been home for some time. Since…’ his voice trailed off. He always stopped talking when Belle or Hamilton Drew came to his mind. Soon after their marriage, they had moved here. Drew had been given the task of keeping the portside office open. The idea was to branch out from pearls. Canadian Pacific had plenty of steamships going to Japan and coming back with imported goods. Smart merchants bought them and divided them up and put them in new packages and sent them on. It was not easy to lose. But Hamilton…
Vera tried to picture her father. Was he part of her distant childhood? It seemed to her there had been a pram, and a sweet tooth for toffee. ‘I turned around and he was absent.’ That’s what her grandfather
