Our Lady of the Harbour Read online

  Our Lady of the Harbour

  Charles de Lint

  TRISKELL PRESS

  P.O. Box 9480

  Ottawa, ON

  Canada K1G 3V2

  www.triskellpress.com

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  Our Lady of the Harbour

  First published by Axolotl Press, 1991. This Triskell Press edition published in 2017.

  Copyright © 1991 Charles de Lint

  Cover art by Gaston Hoffmann (1883-1926); Sirène, 1926

  Cover design by MaryAnn Harris.

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  eISBN 978-0-920623-80-0

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  All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the author or publisher except for the use of brief quotations in critical articles or reviews.

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  This is a work of fiction. Names, places, businesses, characters and incidents are either the product of the author’s imagination or are used in a fictitious manner. Any resemblance to actual persons living or dead, actual events or locales is purely coincidental.

  Contents

  Dedication

  Our Lady of the Harbour

  Mailing list

  About the Author

  Other Books by Charles de Lint

  for MaryAnn

  Our Lady of the Harbour

  People don’t behave the way they should;

  they behave the way they do.

  —Jim Beaubien & Karen Caesar

  * * *

  She sat on her rock, looking out over the lake, her back to the city that reared up behind her in a bewildering array of towers and lights. A half-mile of water separated her island from Newford, but on a night such as this, with the moon high and the water still as glass, the city might as well have been on the other side of the planet.

  Tonight an essence of Marchen prevailed in the darkened groves and on the moonlit lawns of the island.

  For uncounted years before Diederick van Yoors first settled the area in the early part of the nineteenth century, the native Kickaha called the island Myeengun. By the turn of the century, it had become the playground of Newford’s wealthy, its bright facade first beginning to lose its luster with the Great Depression when wealthy landowners could no longer keep up their summer homes; by the end of the Second World War, it was an eyesore. It wasn’t turned into a park until the late 1950s. Today most people knew it only by the anglicized translation of its Kickaha name: Wolf Island.

  Matt Casey always thought of it as her island.

  The cast bronze statue he regarded had originally stood in the garden of an expatriate Danish businessman’s summer home, a faithful reproduction of the well-known figure that haunted the waterfront of the Dane’s native Copenhagen. When the city expropriated the man’s land for the park, he was generous enough to donate the statue, and so she sat now on the island, as she had for fifty years, looking out over the lake, motionless, always looking, the moonlight gleaming on her bronze features and slender form.

  The sharp blast of a warning horn signaling the last ferry back to the city cut through the night’s contemplative mood. Matt turned to look to the far side of the island where the ferry was docked. As he watched, the lights on the park’s winding paths winked out, followed by those in the island’s restaurant and the other buildings near the dock. The horn gave one last blast. Five minutes later, the ferry lurched away from the dock and began its final journey of the day back to Newford’s harbour.

  Now, except for a pair of security guards who, Matt knew, would spend the night watching TV and sleeping in the park’s offices above the souvenir store, he had the island to himself. He turned back to look at the statue. It was still silent, still motionless, still watching the unfathomable waters of the lake.

  He’d been here one afternoon and watched a bag lady feeding gulls with bits of bread that she probably should have kept for herself. The gulls here were all overfed. When the bread was all gone, she’d walked up to the statue.

  “Our Lady of the Harbour,” she’d said. “Bless me.”

  Then she’d made the sign of the cross, as though she was a Catholic stepping forward into the nave of her church. From one of her bulging shopping bags, she took out a small plastic flower and laid it on the stone by the statue’s feet, then turned and walked away.

  The flower was long gone, plucked by one of the cleaning crews, no doubt, but the memory remained.

  Matt moved closer to the statue, so close that he could have laid his palm against the cool metal of her flesh.

  “Lady,” he began, but he couldn’t go on.

  * * *

  Matt Casey wasn’t an easy man to like. He lived for one thing, and that was his music. About the only social intercourse he had was with the members of the various bands he had played in over the years, and even that was spotty. Nobody he ever played with seemed willing to just concentrate on the music; they always wanted to hang out together as though they were all friends, as though they were in some kind of social club.

  Music took the place of people in his life. It was his friend and his lover, his confidant and his voice, his gossip and his comfort.

  It was almost always so.

  From his earliest years he suffered from an acute sense of xenophobia: everyone was a stranger to him. All were foreigners to the observer captured in the flesh, blood and bone of his body. It was not something he understood in the sense that one might be aware of a problem one had; it was just the way he was. He could trust no one, perhaps because he had never learned to trust himself.

  His fellow musicians thought of him as cold, aloof, cynical—descriptions that were completely at odds with the sensitivity of his singing and the warmth that lay at the heart of his music. The men he played with sometimes thought that all he needed was a friend, but his rebuffs to even the most casual overtures of friendship always cured such notions. The women he played with sometimes thought that all he needed was a lover, but though he slept with a few, the distance he maintained eventually cooled the ardor of even the most persistent.

  Always, in the end, there was only the music. To all else, he was an outsider.

  He grew up in the suburbs north of the city’s center, part of a caring family. He had an older brother and two younger sisters, each of them outgoing and popular in their own way. Standing out in such contrast to them, even at an early age, his parents had sent him to a seemingly endless series of child specialists and psychologists, but no one could get through except for his music teachers—first in the school orchestra, then the private tutors that his parents were only too happy to provide for him.

  They saw a future in music for him, but not the one he chose. They saw him studying music at a university, taken under the wing of some master, whenever he finally settled on a chosen instrument, eventually playing concert halls, touring the world with famous orchestras. Instead he left home at sixteen. He turned his back on formal studies, but not on learning, and played in the streets. He traveled all over North America, then to Europe and the Middle East, finally returning home to busk on Newford’s streets and play in her clubs.

  Still the outsider—more so, perhaps, rather than less.

  It wasn’t that he was unfriendly; he simply remained uninvolved, animated only in the presence of other musicians, and then only to discuss the esoterics of obscure lyrics and tunes and instruments, or to play. He never thought of himself as lonely, just alone; never considered himself to be a social misfit or an outcast from the company of his fellow men, just an observer of the social dance to which most men and women knew the steps, rather than one who would join them on the dance floor.

  An outsider.r />
  A gifted genius, undoubtedly, as any who heard him play would affirm, but an outsider all the same.

  It was almost always so.

  * * *

  In the late seventies, the current band was Marrowbones and they had a weekend gig at a folk club in Lower Crowsea called Feeney’s Kitchen—a popular hangout for those Butler University students who shunned disco and punk as well as the New Wave. The line-up was Matt on his usual bouzouki and guitar and handling the vocals, Nicky Doyle on fiddle, Johnny Ryan on tenor banjo, doubling on his classic Gibson mandocello for song accompaniments, and Matt’s longtime musical associate Amy Scallan on Uillean pipes and whistles.

  They’d been playing together for a year and a half now and the band had developed a big, tight sound that had recently brought in offers for them to tour the college and festival circuits right across the country.

  But it’d never happen, Amy thought as she buckled on her pipes in preparation for the selection of reels with which they were going to end the first set of the evening.

  The same thing was going to happen that always happened. It was already starting. She’d had to listen to Nicky and Johnny going on about Matt earlier this afternoon when the three of them had gotten together to jam with a couple of other friends at The Harp. They couldn’t deal with the dichotomy of Matt offstage and on. Fronting the band, Matt projected the charming image of a friendly and outgoing man that you couldn’t help but want to get to know; offstage he was taciturn and withdrawn, uninterested in anything that didn’t deal with the music.

  But that was Matt, she’d tried to explain. You couldn’t find a better singer or musician to play with and he had a knack for giving even the simplest piece a knockout arrangement. Nobody said you had to like him.

  But Nicky had only shaken his head, brown curls bobbing. “Your man’s taking all the craic from playing in a band.”

  Johnny nodded in agreement. “It’s just not fun anymore. He’ll barely pass the time of day with you, but on stage he’s all bloody smiles and jokes. I don’t know how you put up with him.”

  Amy hadn’t been able to come up with an explanation then, and looking across the stage now to where Matt was raising his eyebrows to ask if she was ready, then winking when she nodded back that she was, she couldn’t explain it any better. She’d just learned over the years that what they shared was the music—and the music was very good; if she wanted more, she had to look for it elsewhere.

  She’d come to terms with it where most people wouldn’t, or couldn’t, but then there was very little in the world that ever fazed her.

  Matt started a G-drone on his bouzouki. He leaned close to the mike, just a touch of a welcoming smile tugging the corner of his mouth as a handful of dancers, anticipating what was to come, stepped onto the tiny wooden dance floor in front of the stage. Amy gave him a handful of bars to lock in the tempo, then launched into the first high popping notes of “The Road West,” the opening salvo in this set of reels.

  She and Matt played the tune through twice on their own and room on the dance floor grew to such a premium that the dancers could do little more than jig in one spot. Their elbows and knees could barely jostle against one another.

  It wasn’t quite a sea of bobbing heads, Amy thought, looking down from the stage. More like a small lake, or even a puddle.

  The analogy made her smile. She kicked in her pipe drones as the fiddle and tenor banjo joined in on “The Glen Allen.” It was halfway through that second tune that she became aware of the young woman dancing directly in front of Matt’s microphone.

  She was small and slender, with hair that seemed to be made of spun gold and eyes such a deep blue that they glittered like sapphires in the light spilling from the stage. Her features reminded Amy of a fox—pointed and tight like a Rackham sprite, but no less attractive for all that.

  The other dancers gave way like reeds before a wind, drawing back to allow her the room to swirl the skirt of her unbelted flowered dress, her tiny feet scissoring intricate steps in their black Chinese slippers. Her movements were at once sensual and innocent. Amy’s first impression was that the young woman was a professional dancer, but as she watched more closely, she realized that the girl’s fluidity and grace were more an inherent talent than a studied skill.

  The dancer’s gaze caught and held on Matt, no matter how her steps turned her about, her attention fixed and steady as though he had bewitched her, while Matt, to Amy’s surprise, seemed just as entranced. When they kicked into “Sheehan’s Reel,” the third and final tune of the set, she almost thought Matt was going to leave the stage to dance with the girl.

  “Again!” Matt cried out as they neared the usual end of the tune.

  Amy didn’t mind. She pumped the bellows of her pipes, long fingers dancing on the chanter, more than happy to play the piece all night if the dancer could keep up. But the tune unwound to its end, they ended with a flourish, and suddenly it was all over. The dance floor cleared, the girl was swallowed by the crowd.

  When the applause died down, an odd sort of hush fell over the club. Amy unbuckled her pipes and looked over to see that Matt had already left the stage. She hadn’t even seen him go. She tugged her chanter mike up to mouth level.

  “We’re, uh, going to take a short break, folks,” she said into the mike. Her voice seemed to boom in the quiet. “Then,” she added, “we’ll be right back with some more music, so don’t go away.”

  The patter bookending the tunes and songs was Matt’s usual job. Since Amy didn’t feel she had his natural stage charm, she just kept it simple.

  There was another smatter of applause that she acknowledged with a smile. The house system came on, playing a Jackson Browne tune, and she turned to Nicky, who was putting his fiddle in its case.

  “Where’d Matt go?” she asked.

  He gave her a “who cares?” shrug. “Probably chasing that bird who was shaking her tush at him all through the last piece.”

  “I don’t envy her,” Johnny added.

  Amy knew exactly what he meant. Over the past few months they’d all seen the fallout of casualties who gathered like moths around the bright flame of Matt’s stage presence, only to have their wings burnt with his indifference. He’d charm them in a club, sometimes sleep with them, but in the end, the only lover he kept was the music.

  Amy knew all too well. There was a time…

  She pushed the past away with a shake of her head. Putting a hand above her eyes to shade them from the lights, she scanned the crowd as the other two went to get themselves a beer, but she couldn’t spot either Matt or the girl. Her gaze settled on a black-haired Chinese woman sitting alone at a small table near the door and she smiled as the woman raised her hand in a wave. She’d forgotten that Lucia had arrived halfway through their first set—fashionably late, as always—and now that she thought about it, hadn’t she seen the dancer come in about the same time? They might even have come in together.

  Lucia Han was a performance artist based in Upper Foxville, and an old friend of Amy’s. When they’d first met, Amy had been told by too many people to be careful because Lucia was gay and would probably make a pass at her. Amy just ignored them. She had nothing against gays to begin with and she soon learned that the gossips’ reasoning for their false assumption was just that Lucia only liked to work with other women. But as Lucia had explained to Amy once, “There’s just not enough women involved in the arts and I want to support those who do make the plunge—at least if they’re any good.”

  Amy understood perfectly. She often wished there were more women players in traditional music. She was sick to death of going to a music session where she wasn’t known. All too often she’d be the only woman in a gathering of men and have to play rings around them on her pipes just to prove that she was as good as them. Irish men weren’t exactly noted for their liberated standards.

  Which didn’t mean that either she or Lucia weren’t fond of the right sort of a man. “Au contraire,” as Lucia would sa
y in the phony Parisian accent she liked to affect, “I am liking them too much.”

  Amy made her way to the bar, where she ordered a beer on her tab, then took the brimming draught glass through the crowd to Lucia’s table, trying to slosh as little of the foam as she could on her new jeans.

  “Bet you thought I wouldn’t come,” Lucia said as Amy sat down with her stein relatively full. The only spillage had joined the stickiness of other people’s spills that lay underfoot.

  Lucia was older than Amy by at least six or seven years, putting her in her mid-thirties. She had her hair in a wild spiky do tonight—to match the torn white T-shirt and leather jeans, no doubt. The punk movement had barely begun to trickle across the Atlantic as yet, but it was obvious that Lucia was already an eager proponent. A strand of safety pins dangled from one earlobe; others held the tears of her T-shirt closed in strategic places.

  “I don’t even remember telling you about the gig,” Amy said.

  Lucia waved a negligent hand toward the small poster on the wall behind her that advertised the band’s appearance at Feeney’s Kitchen this weekend. “But you are famous now, ma chérie,” she said. “How could I not know?” She dropped the accent to add, “You guys sound great.”

  “Thanks.”

  Amy looked at the tabletop. She set her stein down beside a glass of white wine, Lucia’s cigarettes and matches and a half-filled ashtray. There was also an empty teacup with a small bright steel teapot on one side of it and a used tea bag on the lip of its saucer.

  “Did you come alone?” she asked.

  Lucia shook her head. “I brought a foundling—fresh from who really knows where. You probably noticed her and Matt making goo-goo eyes at each other all through the last piece you did.” She brought a hand to her lips as soon as she’d made the last comment. “Sorry. I forgot about the thing you used to have going with him.”