The Woman in the Dunes - Machi Abe [70]
One day he tried setting a trap to catch crows in the empty space behind the house. He named it “Hope.”
The device was exceptionally simple. It made use of the special properties of the sand. He dug a rather deep hole, and in the bottom he buried a wooden bucket. With three sticks the size of matches he propped open a cover slightly smaller than the mouth of the bucket. To each stick he tied a thin thread. The threads ran through a hole in the middle of the lid and were connected to a wire on the outside. To the end of the wire he attached a piece of dried fish as bait. And the whole thing was carefully concealed with sand. From the outside the only thing visible was the bait at the bottom of a sand bowl. As soon as a crow took the bait, the sticks would slip out, the lid would fall down, the sand would slide in, and the crow would be buried alive. He had made two or three trial runs; everything worked perfectly. He could visualize the pitiful figure of the crow swallowed up by the sliding sand, without having had the time even to flap its wings.
And then he would write a letter and fasten it to the crow’s leg. Of course, it was all a question of luck. In the first place, the possibility was very slight that, when he released the crow, it would fall into anyone’s hands. He would never know where it would fly off to. Usually, the radius of a crow’s flight was very limited. The worst risk was that the villagers would notice one crow in the flock with a piece of white paper attached to its legs and learn all about his plans. All his long-suffering patience would have been for nought.
Since he had failed in his escape, he had become extremely cautious. He adjusted himself to the life of the hole, as if it were a kind of hibernation, concentrating his efforts on making the villagers relax their vigilance. Repetition of the same patterns, they say, provides an effective form of protective coloring. If he were to melt into a life of simple repetition, there might possibly come a time when they could be quite unconscious of him.
There was another effective element in repetition. For example, the woman had devoted herself for the last two months, day in and day out, to stringing beads, concentrating so fiercely that her face seemed bloated. Her long needle seemed to dance as she picked up with its fine tip the metallic beads scattered in the bottom of a cardboard box. He estimated her savings to be around two thousand yen, enough to make a down payment on a radio in another two weeks.
There was an importance about the dancing needle that made him feel it was the center of the world. Her repetitious movements gave color to the present and a feeling of actuality. The man, not to be outdone, decided to concentrate likewise on some especially monotonous handwork. Sweeping sand from the ceiling, sifting rice, washing—such work had already become his major daily occupations. The time flew by, at least while he was at work. His invention of a small tent made of plastic to shelter them from the sand while they slept, and the device for steaming fish by burying it in hot sand—such things made time pass rather pleasantly.
Since he had come back, in order not to upset himself, he had really tried to get along without reading any newspapers. After a week, he had no longer thought about reading. After a month, he almost forgot there were such things as newspapers. Once he had seen a reproduction of an engraving called “Hell of Loneliness” and had thought it curious. In it a man was floating unsteadily in the air, his eyes wide with fright, and the space around him, far from being empty, was so filled with the semi-transparent shadows of dead persons that he could scarcely move. The dead, each