Alvin Jorneyman

“But you can't be the Maker, that one's a boy. I think you're a judge.” The boy looked even more certain. “Aunt Becca said the judge was coming, and then the Maker, so you can't be the Maker because the judge ain't come yet, but you could be the judge because the judge comes first.”

Peggy knew that other folks often took the words of children to be nonsense, if they didn't understand them immediately. But Peggy knew that the words of children were always related to their view of the world, and made their own sense if you only knew how to hear them. Someone had told them– Aunt Becca, it was– that a judge and a Maker were coming. There was only one Maker that Peggy knew of. Was Alvin coming here? What was this place, that the children knew of Makers, and had no heartfires?

“I thought your house was standing empty,” said Peggy, “but I see that it is not.”

For indeed there now stood a woman in the doorway, leaning against the jamb, watching them placidly as she slowly stirred a bowl with a wooden spoon.

“Mama!” cried the girl that Peggy still held. “She has me and won't let go!”

“It's true!” cried Peggy at once. “And I still won't let go, till I'm sure she won't murder the boy here!”

“He killed my squirrel, Mama!” cried the girl.

The woman said nothing, just stirred.

“Perhaps, children,” said Peggy, “we should go talk to this lady in the doorway, instead of shouting like river rats.”

“Mother doesn't like you,” said one of the girls. “I can tell.”

“That's a shame,” said Peggy. “Because I like her.”

“Do not,” said the girl. “You don't know her, and if you did you still wouldn't like her because nobody does.”

“What a terrible thing to say about your mother,” said Peggy.

“I don't have to like her,” said the girl. “I love her.”

“Then take me to this woman that you love but don't like,” said Peggy, “and let me reach my own conclusions about her.”

As they approached the door, Peggy began to think that the girls might be right. The woman certainly didn't look welcoming. But for that matter, she didn't look hostile, either. Her face was empty of emotion. She just stirred the bowl.

“My name is Peggy Larner.” The woman ignored her outstretched hand. “I'm sorry if I shouldn't have intervened, but as you can see the boy was taking some serious injury.”

“Just my nose is bloody, is all,” said the boy. But his limp suggested other less visible pains.

“Come inside,” said the woman.

Peggy had no idea whether the woman was speaking just to the children, or was including her in the invitation. If it could be called an invitation, so blandly she spoke it, not looking up from the bowl she stirred. The woman turned away, disappearing inside the house. The children followed. So, finally, did Peggy. No one stopped her or seemed to think her action strange. It was this that first made her wonder if perhaps she had fallen asleep in the carriage and this was some strange dream, in which unaccountable u

The children disappeared, stomping somewhere through the wood-floored house, and at least one of them went up or down a flight of stairs; it had to be a child, there was so much vigor in the step. But there were no sounds that told Peggy where to go, or what purpose was being served by her coming here. Was there no order here? Nothing that her presence disrupted? Would no one but the children ever notice her at all?

She wanted to go back outside, return to the carriage, but now, as she turned around, she couldn't remember what door she had come through, or even which way was north. The windows were curtained, and whatever door she had come through, she couldn't see it now.

It was an odd place, for there was cloth everywhere, folded neatly and stacked on all the furniture, on the floors, on the stairs, as if someone had just bought enough to make a thousand dresses with and the tailors and seamstresses were yet to arrive. Then she realized that the piles were of one continuous cloth, flowing off the top of one stack into the bottom of the next. How could there be a cloth so long? Why would anyone make it, instead of cutting it and sending it out to get something made from it?

Why indeed. How foolish of her not to realize it at once. She knew this place. She hadn't visited it herself, but she had seen it through Alvin's heartfire years ago.

He was still in Ta-Kumsaw's thrall in those days. The Red warrior took Alvin with him and brought him into his legend, so that those who now spoke of Alvin Smith the Finder-killer, or Alvin Smith and the golden plow, had once spoken of the same boy, little knowing it, when they spoke of the evil “Boy Renegado,” the white boy who went with Ta-Kumsaw in all his travels in the last year before his defeat at Fort Detroit. It was in that guise that Alvin came here, and walked down this hall, yes, turning right here, yes, tracking the folded cloth into the oldest part of the house, the original cabin, into the slanting light that seems to have no source, as if it merely seeped in through the chinks between the logs. And here, if I open this door, I will find the woman with the loom. This is the place of weaving.

Aunt Becca. Of course she knew the name. Becca, the weaver who held the threads of all the lives in the White man's lands in North America.

The woman at the loom looked up. “I didn't want you here,” she said softly.

“Nor did I plan to come,” said Peggy. “The truth is, I had forgotten you. You slipped my mind.”

“I'm supposed to slip your mind. I slip all minds.”

“Except one or two?”

~"My husband remembers me."

“Ta-Kumsaw? He isn't dead, then?”

Becca snorted. “My husband's name is Isaac.”

That was Ta-Kumsaw's White name. “Don't quibble with me,” said Peggy. “Something called me here. If it wasn't you, who was it?”

“My untalented sister. The one who breaks threads whenever she touches the loom.”

Aunt Becca, the children had called the weaver. “Is your sister the mother of the children I met?”

“The murderous little boy who kills squirrels for sport? His brutal sisters? I think of them as the four horses of the apocalypse. The boy is war. The sisters are still sorting themselves out among the other forces of destruction.”

“You speak metaphorically, I hope,” said Peggy.

“I hope not,” said Becca. “Metaphors have a way of holding the most truth in the least space.” .

“Why would your sister have brought me here? She didn't seem to know me at the door.”

“You're the judge,” said Becca. “I found a purple thread of justice in the loom, and it was you. I didn't want you here, but I knew that you'd come, because I knew my sister would have you here.”

“Why? I'm no judge. I'm guilty myself.”

“You see? Your judgment includes everyone. Even those who are invisible to you.”

“Invisible?” But she knew before asking what it was that Becca meant.

“Your vision, your torching, as you quaintly call it– you see where people are in the many paths of their lives. But I am not on the path of time. Nor is my sister. We don't belong anywhere in your prophecies or in the memories of those who know us. Only in the present moment are we here.”

“Yet I remember your first word long enough to make sense of the whole sentence,” said Peggy.

“Ah,” said Becca. “The judge insists on correctness of speech. Boundaries are not so clear, Margaret Larner. You remember perfectly now; but what will you remember in a week from now? What you forget of me, you'll forget so completely that you won't remember that you once knew it. Then my statement will be true, but you'll forget that I said it.”