Iâve gone too far. I have to be lost, though lost on this small island canât be too bad. Maybe lost is good, is just somewhere else. I force myself to smile. I turn as if thatâs what I want to do.
Where the bush thickens most thereâs the leftover of a path that veers around it, and I take it more to avoid the plants than for a direction, and at the end of that path is a palm with a wire running up its smooth side, like one plant throttling another. Then I see the house below it.
It is made with fiberboard nailed crookedly to planks and tarpaper and air, but the rusted bolts and barbed wire all around its bottom give it a look of growth, of a succulentâs succulent with greening thick walls, of something made fast and abandoned slow.
I look for an opening, a reason for all the bolts and barbed wire, why itâs here and not on the beach. Surely the wireâs an antenna, surely something inside bounces sound around, if not picture. Inside must be a radio, if not a phone.
Iâm free, finding a phone makes me free. The boat is already coming if I can tell it to.
I keep circling.
My ex will send a boat. Although he is the man who forgot me, he is someone who shrinks refrigerators and blows up people for a living, one special effect or another, none of them very special to me after he forgot to pick me up post-delivery, and other better-forgotten events, he could send a boat. But I donât think he thinks of me now.
I hope he doesnât, I hope heâs forgotten.
There has to be some place to get in.
It is my son whom Iâd call. Miss you, Iâd say to him if I could, but it would come out, Brush your teeth. Then Iâd make the loud sound of a smack thatâs supposed to embarrass him, the one that leaves a red butterfly on a cheek.
I stop to think about that butterfly, that call, and then I find the lock.
Itâs covered with vines and all rusty, a lock I canât knock off with one blow of a machete the way any islander could. I have no machete. Iâm probably the only person on the island who doesnât carry a machete.
The shack canât be empty.
Maybe the rust fills in instantly where a sweaty palm turns, or the plants surge over the suddenly bared spot in a single afternoon.
And over what other bared spots on single afternoons? One square mile of island, and how many secrets can such an island harbor?
My shoulders against the door donât so much as flake off rust. I give the door a good kick.
Barclay will open it.
Barclay, I say, let me radio.
Who would look for him in the cemetery? Ghosts, says Ngarima, you donât want to go there. But there he is, drinking, his back up against one of the stones that all lean one way, like recliners, that angle, and hard to see if you are walking by at a clip, which I am, short-cutting and wending and feeling my way back. But I do see.
He gives me his film-star profile, his wet lips settling around a bottle.
Barclay, I say, Iâve found the shack.
Barclay drinks. The labelâs imported. Whatâs not imported here?
I squat to his level. At his level, each plot is fenced to the size of a bed and mounded as if there are covers pulled over. In some places the covers are cracked and open. I thought everyone here was afraid of this place, I say. Talk to me, Barclay.
Everyone is afraid, he says. Arenât you? His voice is down deep where darkness sits in a man, where rumble meets those chemicals that make a man or make him weep.
Theyâre not my dead, I say.
No? It doesnât matter, he says. The spirits have blown away anyway. He purses his lips to show me blow . All of the spirits.
Quit being so mysterious, I say. Itâs bad enough you wouldnât take me to the radio.
Radio? says Barclay, sitting up a little. You know, boats used to miss this island even when they started having radar, he says. He drinks again. This is where they always put the inches-to-miles on maps because