“I am a voice of one shouting in the desert, Straighten the Lord’s way!” my father cried.”! am only baptizing in water, but someone is standing among you of whom you do not know. He is God’s Lamb, who is to remove the world’s sin.”

My father lowered his hand and closed his fingers gently over the top of Lucien s head.

“In the name of the Father, the Son, and the Holy Ghost I baptize you, my son. Walk forward into the light.”

Lucien didn’t move. Father took his hand away and waited, I suppose, for the miracle of baptism to take hold. Then he turned to Lucien s tiny sister Bwanga, who held on to Lucien’s hand for dear life. Their mother had died during the disease time, and their father’s other wife-Pascal’s mother-had taken them both into her house. Throughout this time of loss and salvation, Bwanga had remained Ruth May’s most loyal playmate. Even that my father wouldn’t have known. I felt an unspeakable despair. He knew nothing about the children. Under his cupped hand Bwanga’s little bald head looked like an overripe avocado he was prepared to toss away. She stood wide-eyed and motionless.

“In the name of the Father, the Son, and the Holy Ghost,” he repeated, and released her.

“Mah-dah-mey-I?” Bwanga asked.

Several other children remembered this game and echoed: “Mah-dah-mey-I?” Their eyes left Father and came to rest on Ruth May inside the drenched cloud of netting on the table. They all picked up the refrain, asking again and again in a rising plea: Mother May I? And though they surely knew no permission would be granted, they kept up their soft, steady chant for a very long time in the pouring rain. Water clung to their eyelashes and streamed in runnels down their open faces. Their meager clothes, imposed on them by foreigners, clung to their thin chests and legs like a second skin finally ready to accept the shape of their bodies. The dust on our feet turned blood-colored and the sky grew very dark, while Father moved around the circle baptizing each child in turn, imploring the living progeny of Kilanga to walk forward into the light.

Book Five. EXODUS

Orleanna Price

SANDERLING ISLAND, GEORGIA

AS LONG AS I KEPT MOVING, my grief streamed out behind me like a swimmer’s long hair in water. I knew the weight was there but it didn’t touch me. Only when I stopped did the slick, dark stuff of it come floating around my face, catching my arms and throat till I began to drown. So I just didn’t stop.

The substance of grief is not imaginary. It’s as real as rope or the absence of air, and like both those things it can kill. My body understood there was no safe place for me to be.

A mother’s body remembers her babies-the folds of soft flesh, the softly furred scalp against her nose. Each child has its own entreaties to body and soul. It’s the last one, though, that overtakes you. I can’t dare say I loved the others less, but my first three were all babies at once, and motherhood dismayed me entirely. The twins came just as Rachel was learning to walk. What came next I hardly remember, whole years when I battled through every single day of grasping hands and mouths until I could fall into bed for a few short hours and dream of being eaten alive in small pieces. I counted to one hundred as I rocked, contriving the patience to get one down in order to take up another. One mouth closed on a spoon meant two crying empty, feathers flying, so I dashed back and forth like a mother bird, flouting nature’s maw with a brood too large. I couldn’t count on survival until all three of them could stand alone. Together they were my first issue. I took one deep breath for every step they took away from me. That’s how it is with the firstborn, no matter what kind of mother you are-rich, poor, frazzled half to death or sweetly content. A first child is your own best foot forward, and how you do cheer those little feet as they strike out. You examine every turn of flesh for precocity, and crow it to the world.

But the last one: the baby who trails her scent like a flag of surrender through your life when there will be no more coming after-oh, that’s love by a different name. She is the babe you hold in your arms for an hour after she’s gone to sleep. If you put her down in the crib, she might wake up changed and fly away. So instead you rock by the window, drinking the light from her skin, breathing her exhaled dreams. Your heart bays to the double crescent moons of closed lashes on her cheeks. She’s the one you can’t put down.

My baby, my blood, my honest truth: entreat me not to leave thee,for whither thou goest I will go. Where I lodge, we lodge together. Where I die, you’ll be buried at last.

By instinct rather than will, I stayed alive. I tried to flee from the grief. It wasn’t the spirit but just a body that moved me from one place to another. I watched my hands, heard my mouth give orders. Avoided corners and stillness. When I had to pause for breath I stood in the open, in the center of a room or out in the yard. The trees roared and danced as if they were on fire in the pouring rain, telling me to go on, go on. Once I’d moved our table outside, with my baby laid out upon it, I could see no sense in anything but to bring out the rest. Such a bewildering excess of things we had for one single family, and how useless it all seemed now. I carried out armloads of fabric and wood and metal put together in all their puzzling ways, and marveled that I’d ever felt comfort in having such things. I needed truth and light, to remember my baby’s laughter. This stuff cluttered my way. What relief, to place it in the hands of women who could carry off my burden. Their industrious need made me light-headed: my dresses would be curtains, and my curtains, dresses. My tea towel, a baby’s diaper. Empty food tins would be pounded into palm-oil lamps, toys, plowshares maybe-who could say? My household would pass through the great digestive tract of Kilanga and turn into sights unseen. It was a miracle to witness my own simple motion, amplified. As I gave it all up, the trees unrolled their tongues of flame and blazed in approval.

Motion became my whole purpose. When there was nothing left to move but myself, I walked to the end of our village and kept going, with a whole raft of children strung out behind me. Nothing to do but take my leave, Sala mbote! I went on foot because I still had feet to carry me.

Plain and simple, that was the source of our exodus: I had to keep moving. I didn’t set out to leave my husband. Anyone can see I should have, long before, but I never did know how. For women like me, it seems, it’s not ours to take charge of beginnings and endings. Not the marriage proposal, the summit conquered, the first shot fired, nor the last one either-the treaty at Appomattox, the knife in the heart. Let men write those stories. I can’t. I only know the middle ground where we live our lives. We whistle while Rome burns, or we scrub the floor, depending. Don’t dare presume there’s shame in the lot of a woman who carries on. On the day a committee of men decided to murder the fledgling Congo, what do you suppose Mama Mwanza was doing? Was it different, the day after? Of course not. Was she a fool, then, or the backbone of a history? When a government comes crashing down, it crushes those who were living under its roof. People like Mama Mwanza never knew the house was there at all. Independence is a complex word in a foreign tongue. To resist occupation, whether you’re a nation or merely a woman, you must understand the language of your enemy. Conquest and liberation and democracy and divorce are words that mean squat, basically, when you have hungry children and clothes to get out on the line and it looks like rain.