Alt Dreams [One-Shots] (33—'Between') (20150804)
Posted: Tue Aug 04, 2015 12:32 am
This is an odd one. It fits into the continuity of my 'After the Dream' mosaic, as in Hanako's arc.
However, it also introduces a character from somewhere else—and it has a distinctly unusual setting.
Between (2030)
“W-what’s the surprise, husband?”
“Ah, it always makes me feel so embarrassed to think I have the honour of that title.”
This sounds incongruous, coming from the big man who has surprisingly manifested his father’s genes and grown broad and tall. His wife makes a clicking sound of disapproval.
“Tsk. You’re just evading the question, husband.”
“Always the sharp one, my wife.”
“I’m not embarrassed to be your w-wife.”
“Aha, I heard that hesitation!”
“It was n-not hesitation!”
Hideaki Hakamichi grins, and his wife of almost one year wipes the scowl from her face even as she punches him in the shoulder. He attempts to very gently grapple with her, but he’s always been afraid he’ll grip her too hard and bruise her flesh. She, on the other hand, has no such reservations these days—a far cry from the days when she felt awkward about being touched or touching another.
Their gentle, almost fluffy, tussle degenerates into a pillow fight. And then it degenerates further. At the end of everything, as they lie exhausted and naked and entangled with each other, Hanako Ikezawa closes her eyes and tries to hold on to one thought even as she strokes him gently: what is the secret he’s hiding from her?
*****
She’s always been curious. It’s not that she’s actively inquisitive about everything… well, perhaps some things inflame her curiosity more than others. That, and her natural inclination to hang back and wait for things to develop, eventually has brought her to this awkward situation.
She is standing in the corridor outside their bedroom in the house at Saitama. The large house sometimes seems woefully empty—firstly because her sister-in-law doesn’t live here, preferring the more austere environment of the school staff apartments, and secondly because her loud and forceful father-in-law is gone from this earth, leaving a void in the fabric of the world.
On the other side of the wall, she can just about overhear her husband. She hadn’t intended to spy on him, but his voice is loud and her soft footsteps have gone unheard. He seems to be talking to someone, and it’s an interesting conversation even though she can only hear his side.
“Well, that would be nice, Hana. Although we’ve never met before, my late father did mention your late grandfather and what an interesting character he was. Several times, if this one recalls correctly. Also, I have kept all your letters.
“What? Ah, sorry, this line is of poor quality.
“I see. Thank you very much for all the trouble you have gone through.
“I am sure it was of much more trouble than you admit!
“She won’t know until we’re in the air.
“Yes.
“I look forward to meeting you. It is so strange to be meeting someone you have known of for a long time, but never dreamt of encountering in real life.
“Yes, indeed. Go well.
“Ha, that much I learnt from my father.
“Thank you. Goodbye, Hana.”
He terminates the call. Hanako can imagine his large, firm finger swiping the tabphone into silent submission. She wonders what that was all about, and still feels guilty for not letting him know she was there. In her mind, she excuses herself a bit: she had been too slow to get to the bedroom door, and she had been taken unawares.
As the door opens, she quickly adopts a brisk walking pace and heads towards it. The big man steps into the corridor and sees her. His face lights up with genuine pleasure.
“Hana, wife! You’re home early today. Would you like to hang out in a café with your husband?”
She wants to know, more than ever, what secret he’s keeping, why he’s talking to someone else named ‘Hana’. But she can’t bring herself to be a journalist in her own home. So she musters her reservoirs of sweetness and smiles. “Of course I would, dear.”
*****
The printouts say “TOKYO-NRT to JO’BURG-JNB”. She looks at them in stark disbelief and wonders if she’s losing her mind. There are two persons travelling, in this strange alternate universe she’s discovered, unable to suppress her journalistic instincts altogether. Or maybe –he– has lost his mind, she thinks.
Who’s this ‘Hana’ person he keeps talking to? The documents have ‘IKEZAWAHANAKO’ on them, and ‘HAKAMICHIHIDEAKI’ as well. The characters in Japanese, the letters in English, they all tally. The flight, however, is a private jet, with ownership apparently European. ‘Van der Merwen’ is certainly not a Japanese company.
But she loves him, and she’s quite certain he loves her. He’s braved the blade of Jigoro Hakamichi and the scorn of his peers to win her. They have the deathbed blessing and the blessing of Hideaki’s formidable sister. The one unfulfilled wish she’s had is that there are three parents—now four—missing from their family unit, and the wish of ever seeing them will never come to pass.
So, to keep the familial peace, and because of love, Hanako Ikezawa keeps her counsel and does not confront her young man. Perhaps, she thinks, It’s meant to be a secret. It’s February 2030, and they’ve been married less than a year, which excuses much.
*****
“I l-love this. A l-lot.” Hanako tries to control her breathing, but with little success.
Larenty grins. The stocky animal specialist had once possessed honey-blond hair and a youthful, boyish look. Now he looks more severe in aspect, his faded hair and dark-rimmed spectacles giving him the air of very intense gamekeeper.
“Didn’t quite enjoy the ostrich, though, Mr Larenty.”
“Ah, just call me Shan. Ya, the ostrich, she’s flighty. Those ten seconds were good, but maybe a bit intense?”
“Y-yes.”
Unable to restrain himself further, Hideaki guffaws. He knows as the laughter leaves him that he’s made a big mistake, but it had been either that or a couple of broken ribs. Some things can’t be stopped easily.
His wife glares at him. She was enjoying the giraffe a lot more; the crazy ostrich running at what felt like 60 km/h had terrified her, and the dismount into Hideaki’s waiting arms had embarrassed her a lot. Public displays of affection in front of strangers have never quite been her thing.
Shandor Larenty instinctively raises a hand halfway to his mouth. “Well, birds aren’t very bright, they can’t appreciate a good natural rider the way a mammal can. You, Mrs Hakamichi, are light and flexible in the seat. Ridden a horse before?”
“Ah, not really. A friend of mine enjoys riding, and she tried to get me to join her once, but I wasn’t very good. Um, if I call you Shan, you can call me Hanako?”
Shan looks helplessly at Hideaki. “Bit confusing, that might be,” he mutters softly.
Hideaki grins and changes the subject. “Wife, that Warlock of Lilly’s is a huge black monster of the kind that haunts Scottish lochs. Only she can ride him, you know? And that’s because she can’t see where he’s taking her!”
“It’s not n-nice to make fun of your cousin.”
“Sorry. She doesn’t mind me, though.”
“She’s known you all your life.”
Hideaki looks up at his wife, perched on the tall animal’s back, smiling. “That’s true. But we haven’t seen her very much since we got married in Edinburgh!”
“Are you comfortable up there, Mrs Hakamichi?”
“Y-yes.”
“Another round with Mara?”
“Okay!”
Hideaki leans back against the stout wooden planking and watches his wife canter off on the back of Mara the giraffe, the grand old lady of Larenty’s small family of animal friends. Casually, he asks, “Is Madam van der Merwen coming down?”
“No, she isn’t. But she’ll meet you up at Timbavati. She just got in from Europe a couple of nights ago.”
*****
‘Madam van der Merwen’ is a bit of a surprise to Hanako. For a start, she isn’t a large foreign woman. She’s a delicately-featured not-quite-Caucasian lady with a pert little nose and a slightly rough edge to her social graces. She’s physically tough. She’s also around Hideaki’s age.
“Hey, I’m Hanna,” she announces casually, offering a firm handshake. Safari dress isn’t very formal, but their host is in an old turtleneck and naturally distressed clothing, with what looks like far too many pockets.
Catching sight of Hanako’s expression, Hanna van der Merwen tilts her head and offers a wry half-smile. “Ya, I’m a bit messy, me. Got an old-fashioned love of real film and heavy cameras. You Japanese make good ones. This here’s a Nikon, served me well many years.”
“May I have a look, Miss Hanna?”
“Miss Hanna? You’re talking to me, Mr Hakamichi?” Their host dissolves into a round of half-stifled laughter and then stops abruptly. “I’m just plain fokken Hanna, and I’ll call you Hideaki, and she’s—umm, no, I can’t call your wife Hana too, that would confuse everybody—Hanako it is.”
She looks shrewdly at Hanako. “I don’t really know your husband, but we were penpals for a long time. His father and my grandfather were business associates, and at one point Oupa Conrad was trying to get me hitched to your man. That’s because he thought of your late father-in-law as an honourable person. ‘Bit mad, maybe, but a boer’ is what Oupa used to say.”
Hanako nods. She’s not that comfortable with this personality, who feels at times like Shizune Hakamichi with Miki Miura’s voice. Yet Hanna van der Merwen seems like a genuine, direct sort of woman. It must have been Hanna whom Hideaki had been speaking with over the phone. Confusing indeed.
*****
The Hakamichis fall in love with Timbavati almost immediately. Shrewdly scene-setting, Hanna van der Merwen has ensured that they’d arrive after their leisurely five-hour drive just as the evening sun washes over the savanna bushland.
Timbavati Nature Reserve, to give these six hundred square kilometres of land their proper name, is not small. Over the years, it has absorbed smaller neighbouring tracts and even grown a little. However, it’s still dwarfed by Kruger National Park, against which it nestles boundary-free like a tiny child with its mother.
Fifteen tourist lodges are craftily hidden in the varied terrain. There’s a sixteenth—the old van der Merwen lodge once beloved by Hanna’s late grandfather.
“He loved his retreat much, Oupa Conrad did. He’d come here to be human, used to say that his business taught him the animals were more human than the humans.”
Hanako starts a little. Their host walks soundlessly when she chooses, even on creaky hardwood floors that have stood the test of many long years. She turns towards the strangely lilting voice.
Hanna smiles. She’s beginning to like the slightly skittish mannerisms of her penpal Hideaki’s wife. Mrs Hakamichi’s a beauty, clearly. The old scars all over the right side of her body and face are a pity, but you can get used to those. It’s the nature of the person that counts, just as it is with gemstones. The good stuff is always hidden inside.
Hideaki looks up from his guidebook. His gentle boom, so very different from the squeaky dryness of his adolescent voice, rumbles forth. “Hanna, the book says nothing about this lodge we’re in.”
“Heh, that’s as it should be. Lodge #16 is all it is. It has a mystery, a secret that I hope to show you later. I’ll leave you both to it, there’s plenty to discover, and people find the sunset hour romantic.”
She winks before she leaves, and Hideaki finds himself blushing a little. There’s something intensely animal about Hanna van der Merwen. She’s not voluptuous. She’s just very physical, very biological or something. He shakes his head like a wet dog, confounded by awkward chemistry.
“Bath before d-dinner, husband?”
He nods and smiles at his lovely Hanako. In the dancing light, the flowing water, and the aroma of old wood, they rediscover a certain kind of primitive pleasure in simple things. Yes, they are indeed a little late for dinner.
*****
It takes three days before the great mystery of Timbavati is revealed to them. The van der Merwens have never been people to force nature to reveal itself, except when it comes to mining and the things of the mine — minerals and seams of ancient rock. That is how they made their money, after all.
But Timbavati, Lodge #16 in particular, was designed to allow humans a tiny foothold, a pied-à-terre in a land not meant for humans. The old lodge was emplaced and designed as a hide, insulated from its surroundings for one special purpose. That purpose is occasionally fulfilled.
“Quiet. It’s going to happen soon, my friends.”
Nestled in the odd little balcony extension, Hanako feels her husband cradling her in his large arms. They’re looking out through thin slits in this tiny room. Pressed in next to them, Hanna’s disconcerting presence whispers in tones that seem made for stealthy hunting.
It’s twilight on the veldt again. And down a narrow defile they come, loping easily and almost insolently, as if to say, “Here we are, and that is all you need.”
They’re white, not a bleached and sterile shade, but almost cream, their skins like the ghosts of old parchment and dead light. White lions, six of them, six of the famous white lions of Timbavati.
Behind their suddenly inadequate timber slats, the Hakamichis hold their breath. For three days, they’ve eaten light and washed only in Timbavati water. Hanna’s told them it isn’t necessary, but it’s something that the van der Merwens have always done in this place.
In the ethereal glow of the last sunshine, the large flanking lioness turns. Although the big male in front looks superficially more threatening, Hideaki senses a sharp intelligence, and something odd about the female’s eyes.
Hanako, of course, knows what it is at once. “Like Natsume,” she says silently to herself. The white lioness has heterochromic eyes, one bronze-green and one almost dark blue at the edges, perhaps brownish-grey in most of the iris. The same fierce intelligence that glares from her old friend’s eyes is also in the eyes of the huge cat.
“Here I am, and I know you’re there, and I hardly care. But your presence is noted, human things.” This is what the giant cat seems to say, in her lazy but somehow perspicacious stare.
They have presence. They’re like the spirits of the place, come to solid, dangerous life. “The mystery of Timbavati,” Hanna breathes, the air barely stirring as they listen to her. “White lions, and that is Fahari, the great goddess of them all. You’re privileged that she’s looking at us. She normally wouldn’t bother. ‘Fahari’ means ‘glorious’ in Swahili. The little very white one at the end, with bright blue eyes? She has an amusing name — you’d call her ‘Lily’, like your cousin. The lilies bloom richly in this area, as you’ve seen.”
“How do they hunt? Aren’t they a bit… obvious?” mouths Hideaki, not really understanding why he’s asking this.
“If you mean how does a fokken white cat hunt in the green, well, they’re very good. I think they’re better than normal ones. They’re like ghosts. They come out of nowhere, and then you see the blood.”
*****
It comes out of nowhere, the question. It hits like an unexpected ghost striking from another world.
“How did you get… injured?” Hanna asks Hana. Hideaki winces inside.
There’s hesitation. The Hanako of 2030 is not the Hanako of twenty years before, but it doesn’t mean a complete lack of self-consciousness. Yet, the shared experience they’ve had of the lion-goddess has covered the quotidian normality of life with a divine presence. In such in-between places, contact can occur and transactions can be made that wouldn’t pass elsewhere.
“I was b-burnt. Badly, as a child.” Then, with greater confidence, “My mother died saving me. I can’t remember much of it, then there was the orphanage, and then Yamaku later on, and now… this husband of mine, my former classmate’s brother.”
Hanna’s life has been one of daring the uncomfortable and pushing at the boundaries of the impolitic and painful. It’s in every shot and scene she makes. But this has been a new thing for her too.
“I’m sorry. It’s just that you’re such an interesting person, and I thought Hideaki was bad enough.”
“I-interesting?” This thought is a novel one.
“Ya. These last few days? You’ve had experiences in parts of Europe I’ve never been to. Andorra, I always thought it’d be like Switzerland, but I never knew about the mountain temples and stuff like that. I should go there one day. And Edinburgh. They’re really called the Dunedain?”
“Ah, no. That’s Lilly’s, my friend’s, joke. It’s the old name for Edinburgh. Dun Edain, I think.” The unfamiliar syllables come more readily now. For some reason, Hanako feels comfortably uncomfortable.
“What’s it like to write about food and culture all the time? Maybe I could shoot some of it?”
“Later this year, in July, we’re doing Carcassonne. W-would you like to come along?”
“Your husband coming?” Hanna fires a cheeky grin in Hideaki’s direction.
“No.” Hanako is firm on this point. She has a professional life, and sometimes, it doesn’t coincide with his.
“Great! I’ll make my own arrangements and we’ll sort things out.”
“What the women do, Father used to say, is something you shouldn’t mess with,” says Hideaki solemnly.
His wife punches him firmly in the left deltoid. “He was right some of the time!”
Hanna van der Merwen watches them with amusement. They’re people of two worlds, maybe more. They’re in some ways a lot like her. Yet, there are a lot of hidden depths in the portrait that they make, and Hanna’s instincts are to plumb those depths, and capture every nuance in a frame of light and darkness.
In the room, the women come and go, says an old poem. Life is all about the women. Hideaki knows that even his late and sometimes misogynistic father kept that truth within him. Outside, a lion roars. Inside, you can’t tell if the lion is white or not, nor the colour of its eyes. But somewhere, walking between the worlds, along the lines of fire and shadow, the goddess of the savanna stalks.
=====
alt index
However, it also introduces a character from somewhere else—and it has a distinctly unusual setting.
Between (2030)
“W-what’s the surprise, husband?”
“Ah, it always makes me feel so embarrassed to think I have the honour of that title.”
This sounds incongruous, coming from the big man who has surprisingly manifested his father’s genes and grown broad and tall. His wife makes a clicking sound of disapproval.
“Tsk. You’re just evading the question, husband.”
“Always the sharp one, my wife.”
“I’m not embarrassed to be your w-wife.”
“Aha, I heard that hesitation!”
“It was n-not hesitation!”
Hideaki Hakamichi grins, and his wife of almost one year wipes the scowl from her face even as she punches him in the shoulder. He attempts to very gently grapple with her, but he’s always been afraid he’ll grip her too hard and bruise her flesh. She, on the other hand, has no such reservations these days—a far cry from the days when she felt awkward about being touched or touching another.
Their gentle, almost fluffy, tussle degenerates into a pillow fight. And then it degenerates further. At the end of everything, as they lie exhausted and naked and entangled with each other, Hanako Ikezawa closes her eyes and tries to hold on to one thought even as she strokes him gently: what is the secret he’s hiding from her?
*****
She’s always been curious. It’s not that she’s actively inquisitive about everything… well, perhaps some things inflame her curiosity more than others. That, and her natural inclination to hang back and wait for things to develop, eventually has brought her to this awkward situation.
She is standing in the corridor outside their bedroom in the house at Saitama. The large house sometimes seems woefully empty—firstly because her sister-in-law doesn’t live here, preferring the more austere environment of the school staff apartments, and secondly because her loud and forceful father-in-law is gone from this earth, leaving a void in the fabric of the world.
On the other side of the wall, she can just about overhear her husband. She hadn’t intended to spy on him, but his voice is loud and her soft footsteps have gone unheard. He seems to be talking to someone, and it’s an interesting conversation even though she can only hear his side.
“Well, that would be nice, Hana. Although we’ve never met before, my late father did mention your late grandfather and what an interesting character he was. Several times, if this one recalls correctly. Also, I have kept all your letters.
“What? Ah, sorry, this line is of poor quality.
“I see. Thank you very much for all the trouble you have gone through.
“I am sure it was of much more trouble than you admit!
“She won’t know until we’re in the air.
“Yes.
“I look forward to meeting you. It is so strange to be meeting someone you have known of for a long time, but never dreamt of encountering in real life.
“Yes, indeed. Go well.
“Ha, that much I learnt from my father.
“Thank you. Goodbye, Hana.”
He terminates the call. Hanako can imagine his large, firm finger swiping the tabphone into silent submission. She wonders what that was all about, and still feels guilty for not letting him know she was there. In her mind, she excuses herself a bit: she had been too slow to get to the bedroom door, and she had been taken unawares.
As the door opens, she quickly adopts a brisk walking pace and heads towards it. The big man steps into the corridor and sees her. His face lights up with genuine pleasure.
“Hana, wife! You’re home early today. Would you like to hang out in a café with your husband?”
She wants to know, more than ever, what secret he’s keeping, why he’s talking to someone else named ‘Hana’. But she can’t bring herself to be a journalist in her own home. So she musters her reservoirs of sweetness and smiles. “Of course I would, dear.”
*****
The printouts say “TOKYO-NRT to JO’BURG-JNB”. She looks at them in stark disbelief and wonders if she’s losing her mind. There are two persons travelling, in this strange alternate universe she’s discovered, unable to suppress her journalistic instincts altogether. Or maybe –he– has lost his mind, she thinks.
Who’s this ‘Hana’ person he keeps talking to? The documents have ‘IKEZAWAHANAKO’ on them, and ‘HAKAMICHIHIDEAKI’ as well. The characters in Japanese, the letters in English, they all tally. The flight, however, is a private jet, with ownership apparently European. ‘Van der Merwen’ is certainly not a Japanese company.
But she loves him, and she’s quite certain he loves her. He’s braved the blade of Jigoro Hakamichi and the scorn of his peers to win her. They have the deathbed blessing and the blessing of Hideaki’s formidable sister. The one unfulfilled wish she’s had is that there are three parents—now four—missing from their family unit, and the wish of ever seeing them will never come to pass.
So, to keep the familial peace, and because of love, Hanako Ikezawa keeps her counsel and does not confront her young man. Perhaps, she thinks, It’s meant to be a secret. It’s February 2030, and they’ve been married less than a year, which excuses much.
*****
“I l-love this. A l-lot.” Hanako tries to control her breathing, but with little success.
Larenty grins. The stocky animal specialist had once possessed honey-blond hair and a youthful, boyish look. Now he looks more severe in aspect, his faded hair and dark-rimmed spectacles giving him the air of very intense gamekeeper.
“Didn’t quite enjoy the ostrich, though, Mr Larenty.”
“Ah, just call me Shan. Ya, the ostrich, she’s flighty. Those ten seconds were good, but maybe a bit intense?”
“Y-yes.”
Unable to restrain himself further, Hideaki guffaws. He knows as the laughter leaves him that he’s made a big mistake, but it had been either that or a couple of broken ribs. Some things can’t be stopped easily.
His wife glares at him. She was enjoying the giraffe a lot more; the crazy ostrich running at what felt like 60 km/h had terrified her, and the dismount into Hideaki’s waiting arms had embarrassed her a lot. Public displays of affection in front of strangers have never quite been her thing.
Shandor Larenty instinctively raises a hand halfway to his mouth. “Well, birds aren’t very bright, they can’t appreciate a good natural rider the way a mammal can. You, Mrs Hakamichi, are light and flexible in the seat. Ridden a horse before?”
“Ah, not really. A friend of mine enjoys riding, and she tried to get me to join her once, but I wasn’t very good. Um, if I call you Shan, you can call me Hanako?”
Shan looks helplessly at Hideaki. “Bit confusing, that might be,” he mutters softly.
Hideaki grins and changes the subject. “Wife, that Warlock of Lilly’s is a huge black monster of the kind that haunts Scottish lochs. Only she can ride him, you know? And that’s because she can’t see where he’s taking her!”
“It’s not n-nice to make fun of your cousin.”
“Sorry. She doesn’t mind me, though.”
“She’s known you all your life.”
Hideaki looks up at his wife, perched on the tall animal’s back, smiling. “That’s true. But we haven’t seen her very much since we got married in Edinburgh!”
“Are you comfortable up there, Mrs Hakamichi?”
“Y-yes.”
“Another round with Mara?”
“Okay!”
Hideaki leans back against the stout wooden planking and watches his wife canter off on the back of Mara the giraffe, the grand old lady of Larenty’s small family of animal friends. Casually, he asks, “Is Madam van der Merwen coming down?”
“No, she isn’t. But she’ll meet you up at Timbavati. She just got in from Europe a couple of nights ago.”
*****
‘Madam van der Merwen’ is a bit of a surprise to Hanako. For a start, she isn’t a large foreign woman. She’s a delicately-featured not-quite-Caucasian lady with a pert little nose and a slightly rough edge to her social graces. She’s physically tough. She’s also around Hideaki’s age.
“Hey, I’m Hanna,” she announces casually, offering a firm handshake. Safari dress isn’t very formal, but their host is in an old turtleneck and naturally distressed clothing, with what looks like far too many pockets.
Catching sight of Hanako’s expression, Hanna van der Merwen tilts her head and offers a wry half-smile. “Ya, I’m a bit messy, me. Got an old-fashioned love of real film and heavy cameras. You Japanese make good ones. This here’s a Nikon, served me well many years.”
“May I have a look, Miss Hanna?”
“Miss Hanna? You’re talking to me, Mr Hakamichi?” Their host dissolves into a round of half-stifled laughter and then stops abruptly. “I’m just plain fokken Hanna, and I’ll call you Hideaki, and she’s—umm, no, I can’t call your wife Hana too, that would confuse everybody—Hanako it is.”
She looks shrewdly at Hanako. “I don’t really know your husband, but we were penpals for a long time. His father and my grandfather were business associates, and at one point Oupa Conrad was trying to get me hitched to your man. That’s because he thought of your late father-in-law as an honourable person. ‘Bit mad, maybe, but a boer’ is what Oupa used to say.”
Hanako nods. She’s not that comfortable with this personality, who feels at times like Shizune Hakamichi with Miki Miura’s voice. Yet Hanna van der Merwen seems like a genuine, direct sort of woman. It must have been Hanna whom Hideaki had been speaking with over the phone. Confusing indeed.
*****
The Hakamichis fall in love with Timbavati almost immediately. Shrewdly scene-setting, Hanna van der Merwen has ensured that they’d arrive after their leisurely five-hour drive just as the evening sun washes over the savanna bushland.
Timbavati Nature Reserve, to give these six hundred square kilometres of land their proper name, is not small. Over the years, it has absorbed smaller neighbouring tracts and even grown a little. However, it’s still dwarfed by Kruger National Park, against which it nestles boundary-free like a tiny child with its mother.
Fifteen tourist lodges are craftily hidden in the varied terrain. There’s a sixteenth—the old van der Merwen lodge once beloved by Hanna’s late grandfather.
“He loved his retreat much, Oupa Conrad did. He’d come here to be human, used to say that his business taught him the animals were more human than the humans.”
Hanako starts a little. Their host walks soundlessly when she chooses, even on creaky hardwood floors that have stood the test of many long years. She turns towards the strangely lilting voice.
Hanna smiles. She’s beginning to like the slightly skittish mannerisms of her penpal Hideaki’s wife. Mrs Hakamichi’s a beauty, clearly. The old scars all over the right side of her body and face are a pity, but you can get used to those. It’s the nature of the person that counts, just as it is with gemstones. The good stuff is always hidden inside.
Hideaki looks up from his guidebook. His gentle boom, so very different from the squeaky dryness of his adolescent voice, rumbles forth. “Hanna, the book says nothing about this lodge we’re in.”
“Heh, that’s as it should be. Lodge #16 is all it is. It has a mystery, a secret that I hope to show you later. I’ll leave you both to it, there’s plenty to discover, and people find the sunset hour romantic.”
She winks before she leaves, and Hideaki finds himself blushing a little. There’s something intensely animal about Hanna van der Merwen. She’s not voluptuous. She’s just very physical, very biological or something. He shakes his head like a wet dog, confounded by awkward chemistry.
“Bath before d-dinner, husband?”
He nods and smiles at his lovely Hanako. In the dancing light, the flowing water, and the aroma of old wood, they rediscover a certain kind of primitive pleasure in simple things. Yes, they are indeed a little late for dinner.
*****
It takes three days before the great mystery of Timbavati is revealed to them. The van der Merwens have never been people to force nature to reveal itself, except when it comes to mining and the things of the mine — minerals and seams of ancient rock. That is how they made their money, after all.
But Timbavati, Lodge #16 in particular, was designed to allow humans a tiny foothold, a pied-à-terre in a land not meant for humans. The old lodge was emplaced and designed as a hide, insulated from its surroundings for one special purpose. That purpose is occasionally fulfilled.
“Quiet. It’s going to happen soon, my friends.”
Nestled in the odd little balcony extension, Hanako feels her husband cradling her in his large arms. They’re looking out through thin slits in this tiny room. Pressed in next to them, Hanna’s disconcerting presence whispers in tones that seem made for stealthy hunting.
It’s twilight on the veldt again. And down a narrow defile they come, loping easily and almost insolently, as if to say, “Here we are, and that is all you need.”
They’re white, not a bleached and sterile shade, but almost cream, their skins like the ghosts of old parchment and dead light. White lions, six of them, six of the famous white lions of Timbavati.
Behind their suddenly inadequate timber slats, the Hakamichis hold their breath. For three days, they’ve eaten light and washed only in Timbavati water. Hanna’s told them it isn’t necessary, but it’s something that the van der Merwens have always done in this place.
In the ethereal glow of the last sunshine, the large flanking lioness turns. Although the big male in front looks superficially more threatening, Hideaki senses a sharp intelligence, and something odd about the female’s eyes.
Hanako, of course, knows what it is at once. “Like Natsume,” she says silently to herself. The white lioness has heterochromic eyes, one bronze-green and one almost dark blue at the edges, perhaps brownish-grey in most of the iris. The same fierce intelligence that glares from her old friend’s eyes is also in the eyes of the huge cat.
“Here I am, and I know you’re there, and I hardly care. But your presence is noted, human things.” This is what the giant cat seems to say, in her lazy but somehow perspicacious stare.
They have presence. They’re like the spirits of the place, come to solid, dangerous life. “The mystery of Timbavati,” Hanna breathes, the air barely stirring as they listen to her. “White lions, and that is Fahari, the great goddess of them all. You’re privileged that she’s looking at us. She normally wouldn’t bother. ‘Fahari’ means ‘glorious’ in Swahili. The little very white one at the end, with bright blue eyes? She has an amusing name — you’d call her ‘Lily’, like your cousin. The lilies bloom richly in this area, as you’ve seen.”
“How do they hunt? Aren’t they a bit… obvious?” mouths Hideaki, not really understanding why he’s asking this.
“If you mean how does a fokken white cat hunt in the green, well, they’re very good. I think they’re better than normal ones. They’re like ghosts. They come out of nowhere, and then you see the blood.”
*****
It comes out of nowhere, the question. It hits like an unexpected ghost striking from another world.
“How did you get… injured?” Hanna asks Hana. Hideaki winces inside.
There’s hesitation. The Hanako of 2030 is not the Hanako of twenty years before, but it doesn’t mean a complete lack of self-consciousness. Yet, the shared experience they’ve had of the lion-goddess has covered the quotidian normality of life with a divine presence. In such in-between places, contact can occur and transactions can be made that wouldn’t pass elsewhere.
“I was b-burnt. Badly, as a child.” Then, with greater confidence, “My mother died saving me. I can’t remember much of it, then there was the orphanage, and then Yamaku later on, and now… this husband of mine, my former classmate’s brother.”
Hanna’s life has been one of daring the uncomfortable and pushing at the boundaries of the impolitic and painful. It’s in every shot and scene she makes. But this has been a new thing for her too.
“I’m sorry. It’s just that you’re such an interesting person, and I thought Hideaki was bad enough.”
“I-interesting?” This thought is a novel one.
“Ya. These last few days? You’ve had experiences in parts of Europe I’ve never been to. Andorra, I always thought it’d be like Switzerland, but I never knew about the mountain temples and stuff like that. I should go there one day. And Edinburgh. They’re really called the Dunedain?”
“Ah, no. That’s Lilly’s, my friend’s, joke. It’s the old name for Edinburgh. Dun Edain, I think.” The unfamiliar syllables come more readily now. For some reason, Hanako feels comfortably uncomfortable.
“What’s it like to write about food and culture all the time? Maybe I could shoot some of it?”
“Later this year, in July, we’re doing Carcassonne. W-would you like to come along?”
“Your husband coming?” Hanna fires a cheeky grin in Hideaki’s direction.
“No.” Hanako is firm on this point. She has a professional life, and sometimes, it doesn’t coincide with his.
“Great! I’ll make my own arrangements and we’ll sort things out.”
“What the women do, Father used to say, is something you shouldn’t mess with,” says Hideaki solemnly.
His wife punches him firmly in the left deltoid. “He was right some of the time!”
Hanna van der Merwen watches them with amusement. They’re people of two worlds, maybe more. They’re in some ways a lot like her. Yet, there are a lot of hidden depths in the portrait that they make, and Hanna’s instincts are to plumb those depths, and capture every nuance in a frame of light and darkness.
In the room, the women come and go, says an old poem. Life is all about the women. Hideaki knows that even his late and sometimes misogynistic father kept that truth within him. Outside, a lion roars. Inside, you can’t tell if the lion is white or not, nor the colour of its eyes. But somewhere, walking between the worlds, along the lines of fire and shadow, the goddess of the savanna stalks.
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