One of them, done in black ink, is of a tree, gnarly and sprawling, almost denuded of leaves. On the bare branch there’s a lonely frazzled raven, and underneath it, by the roots, what looks like a garbage pile. Even though the garbage is just regular human trash, it’s still somehow obvious that it was the raven that’s assembled it—the bottles, the bones, the concert tickets, the wall calendars. And the reason it’s so sad appears to be that the whole of its life has turned into that waste. So the picture is actually about anyone and everyone, funny at first sight and somber at all the subsequent sights. Like every picture Leopard’s ever drawn. The second is in color. A scrawny, sand-colored cat in the middle of a parched desert. It’s got emerald-green eyes and looks a bit like Sphinx. Apart from it, there’s only the cracked earth and ghostly brush populated by yellowish-white snails. On the ground near the cat’s paws are broken snail shells. The shards are covered with scratches that are actually notes and Latin proverbs. Also on the ground, someone’s footprints. Could be a bird, could be an animal. The prints straggle by where the cat’s sitting, loop around the brush, and disappear somewhere in the distance.
We look at the pictures for a while. They make us a bit depressed. The first drawing belongs to me and the other one to Sphinx, but they are in fact communal property of the pack. So valuable that we never leave them out on display, to make sure we don’t get used to them. We look and remember Leopard. They’re his present to us. Blind usually takes part in the ritual as well. He has his own ways of reaching the right frame of mind, and we could only make wild guesses at what those are. But he never skips the picture-viewing sessions. The animals in the corridor are accessible to his fingers and he knows them as well as we do. Before filling them in, Leopard always scored the outline into the wall. But these he only knows from our descriptions.
So here we are, sitting and standing before our treasure. Looking at it and not looking, at the same time. Seeing it. Listening and thinking. Then we put the map back and return to the daily grind. Smoker isn’t asking questions, which is a bit strange. Could it be that he too is finally growing up?
THE LONGEST NIGHT
—JACKAL’S ADVICE COLUMN,
Smoker, on the floor, flips through old issues of
There are two toxic zones in the room. Around Smoker and around Black.
“I’ve got this hunch,” Tabaqui says, finishing up the pre-repose batch of sandwiches, “that we’re having the Longest tonight.”
“Could very well be,” Sphinx agrees. “I’d even say more likely than not.”
He jostles Blind with his knee.
“Hey! What do you think?”
“Yes,” Blind says. “Quite possible. It’s a bit early this year, for some reason. Or maybe we’re going to have more than one.”
“That’s a new one to me,” Tabaqui says. “I’ve never heard of that happening before. So, why and wherefore did you get this idea?”
Smoker studies them warily, suspicious that they are deliberately talking nonsense to make him feel stupid and provoke him into asking questions. So he isn’t asking them.
It’s night. Only two wall lamps out of the dozen are on. Everyone who’s left in the dorm is asleep. Except for Smoker. Smoker is on the floor next to the pile of magazines, deep in thought. He wants to do something he’s never done before. Take a drive around the House after lights out, for example. This could be the old magazines talking. He’s not sure. With bated breath he starts inching toward the door. He almost makes it when there’s tossing and turning on the bed. A shaggy head leans down from it.
“What?”
“Going out,” Smoker whispers back.
Tabaqui tumbles onto the floor.
