Cutting for Stone - Abraham Verghese [159]
Upstairs, the doors of the individual nurses’ rooms opened onto the shared veranda. They must have all been in the dining room, otherwise they would have been lined up against the veranda railing, teasing out their hair, painting their nails, sewing, and chatting.
I heard music from the corner room that had once been my mother's. I'd been up here a few times, but just like her grave, this wasn't a place where I felt her presence. The strangeness of the music, the beat, were what pulled me closer. Guitars and drums in a driving rhythm repeated a musical refrain first in one register, then another. Of late some Ethiopian music adopted a Western sound, with horns, snare drums, and a repeating electric guitar riff that took the place of the muffled strings of the krar and the hand clapping. But this wasn't Ethiopian music, and not just because the words were English (albeit an English I couldn't quite understand). This was radically different, like a new color in the rainbow.
The door was open a crack.
She stood barefoot in the center of the room, her back to me. A white slip exposed her shoulders and ended at the back of her knees. Her head went from side to side, and her long, straight hair, conked with chemicals, followed as if welded to her skull. Her hips were driven by the bass line, while her upraised right hand kept the melody. Her left hand must have been pressed to her belly, because the elbow jutted out like the handle of a teacup. The music had entered her; it lubricated her joints, softened her bones and flesh to produce this gyrating, fluid, and sensual movement.
She turned. Her eyes were closed and her face was tilted up. The lower lip was twisted, as if it had been split and had healed out of alignment.
I knew that lip, that faintly pockmarked face, though now the pocks textured the skin and exaggerated her cheekbones. It was the body I didn't recognize. She'd been a student probationer forever, until Matron, taking pity on her, gave her a new title, Staff Probationer, which transformed her. From being on the long-term plan, a perpetual student, she became an instructor for incoming probationers. In the classroom, with textbooks that she knew by heart, she could both drive facts into the probationers’ heads and demonstrate that it was possible to keep them there, by the manner in which she regurgitated her material, never looking at the text.
Normally she wore her hair pulled off her forehead and neck and gathered into a top bun so tight that it arched her eyebrows. When she crowned this with the winged nurse's cap, it looked as if she'd inverted an ice-cream cone on her head.
Other than her precarious hairdo, I'd always thought of the Staff Probationer as plain. At school, I knew girls who were neither ugly nor beautiful but who saw themselves one way or the other, and that conviction made it come true. Heidi Enqvist was gorgeous, but alas not in her own eyes, and so she lacked the mystery and allure of Rita Vartanian, who despite her overbite and prominent nose managed to make Heidi envious.
The probationer was of the Heidi mold. I think that's why she made herself a willing prisoner of a stiff, starched uniform and adopted an unsmiling expression to go with it. The only identity she had was that of being in the nursing profession; in her own eyes, and in the light of the world, she thought she was nobody. Id always felt the probationer's discomfort around us. But then she was shy around everybody.
But I could see now that there was more to her than nursing. The uniform concealed a body full of curves, like the figures Shiva used to draw, and the body moved in ways that would have made a harem dancer jealous.
Her eyes were closed. Were she to see me she'd be startled, embarrassed, and probably furious. I was about to step back when, to my surprise, she stepped forward and pulled me in by my hand, as if a phrase in the song was my cue. She kicked the door shut. The music was louder and more intense inside the room.