could never penetrate that."
But his attempt at light humour fell through, because by then they were
barreling through the South Bronx, and what was visible to their right struck
them all speechless.
"Harsh!" Jennifer was the first of the three to regain her powers of
speech. She was a prodigiously bright and imaginative child; both her father
and stepmother had laboured mightily-and successfully-to develop her faculty
of empathy; nonetheless, she was fourteen years old. The horror of the South
Bronx in the year of Our Lord 1999 was, to her, primarily an aesthetic
offense.
"Fuck," Russell breathed finally. He ordinarily made a point of cussing
creatively, but on this occasion invention failed him. "It's worse than I
remember. It's worse than I read. It's worse than I imagined."
Russell was forty-eight years old. He had been born in New York, but had
not lived there since early adolescence; he had been living in Canada, in the
pleasant seaport city of Halifax, for the last twenty-odd years. Aesthetic
dismay was a strong component of his own reaction. He was a designer; this was
obscenity. But human empathy for the pain implicit in what he was seeing
shocked him just as badly.
And there was a third component to his emotional turmoil, represented by
the foreground past which he saw the South Bronx. In the background, the
burned out cars were black; the burned out buildings were black; the
glassless, curtainless windows opened onto a deeper black; the doomed faces
seen in some of those windows were mostly black; the few doomed people visible
on the streets were black. He saw all this past the hair, the nape and part of
the left cheek of his wife, all of which were also black.
Dena's curly hair was the kind of black that is sometimes called blue
black. Her complexion was very close to true black, the deep, glowing black of
lightly burnished obsidian, and as she turned her face forward Russell saw
that it might as well have been carved out of that volcanic glass.
What must it be like for her? he wondered. His designer's mind groped
for an analogy. Perhaps an American Jew driving past Dachau in a brand new
Ford, while the ovens were still in operation? That made him the Nazi behind
the wheel. Dena had been born and raised in Halifax-not in the North Preston
ghetto outside Dartmouth, or in the tiny slum district around Gottingen
Street, but in the South End of the city. Both of her parents full professors
at Dalhousie University, she had been one of the comparative handful of
Haligonian blacks who grew up in, and were fully accepted into, white society.
Poor blacks were as despised and feared in Halifax as in any other city
(although some met with great tolerance in rural Nova Scotia, where everyone
was poor), but middle-class blacks fitted in well.
Halifax was one of the few remaining cities in North America in which
interracial couples-such as Russell and Dena-could walk together anywhere
without the slightest paranoia. While no black grew up anywhere without a deep
awareness of racism, Dena had throughout her life been subjected to about the
absolute minimum of personal contact with it.
Now they were racing together toward the Big Apple.
Tell me again, he said to himself, why this is necessary.
Remind me, please.
Okay. Dena is a dancer. Not, Dena dances sometimes, or Dena has done a
lot of dancing, or even Dena dearly loves to dance. Dena is a dancer, a Modern
dancer. Not a choreographer, a dance maker. Not a particularly good teacher. A
dancer. Give her some choreography, put a dance on her, and she will go out
there and dance it better than almost anyone on earth, make it live and sing.
Dena is a gifted dancer, gifted by God. And God is an Indian giver.
Dena is a thirty-seven-year-old dancer...
The injuries have been coming more frequently, taking longer to heal,