All the Living
A first novel by the most significant new American writer to have emerged in years.Aloma is a young woman who has put her life aside - and her dreams of becoming a pianist - to move in with her lover, Orren. His family has recently been killed in an accident. Stricken with grief and overwhelmingly burdened by the shape his life has taken, Orren is desperate to keep the tobacco farm running. There is a drought, and he needs it to rain.As he toils with the land, Aloma finds that Orren has become more remote than she could ever have imagined, and that silence has taken hold of their relationship. When she begins to play the piano for the local church, she meets the local preacher, and feels a dangerous attraction for him.As events unfold over this single summer, C.E. Morgan takes us on a journey which describes the journey of our own lives. This novel is about every single relationship between a man and a woman - past, present and future - and about the distance between the lives we lead and the lives we imagine for ourselves.
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C.E. MORGAN
All The Living
She had never lived in a house and now, seeing the thing, she was no longer sure she wanted to. It was the right house, she knew it was. It was as he had described. She shielded her eyes as she drove the long slope, her truck jolting and bucking as she approached. The bottomland yawned into view and she saw the fields where the young tobacco faltered on the drybeat earth, the ridge beyond. All around the soil had leached to chalky dust under the sun. She looked for the newer, smaller house that Orren had told her of, but she did not see it, only the old listing structure before her and the fields and the slope of tall grasses that fronted the house. She parked her truck and stared, her tongue troubled the inside of her teeth. The house cast no shadow in the bare noon light.
The ragged porch clung weakly to the wall of the building, its floorboards lining out from the door, their splintering gray now naked to the elements that first undressed them. When she tested a board with one foot, the wood ached and sounded under her, but did not move. She picked her way around a mud-spattered posthole digger and a length of chicken wire to reach the door where she found a paper heart taped to the wood. The shape of the thing gave her pause. She read the note without touching it.
Aloma, If you come when I'm gone, the tractor busted and I went to Hansonville for parts. Go on in. I will come back soon,
Orren
In this house, she thought, or the new one? She straightened up and hesitated. Over her head a porch fan hung spinless, trailing its cobwebs like old hair, its spiders gone. She turned to peer behind her down the gravel drive. Displaced dust still hung close behind the fender of her truck, loath to lie down in boredom again. It was quiet, both on the buckling blacktop road where not a single car had passed since she'd driven up, and here on the porch where the breezeless day was silent. A few midday insects spoke and that was all. She turned around and walked into the house.
If it was abandoned, it was not empty. Curtains hung bleached to gray and tattered rugs scattered across the floor. Against one wall, nestled under the rise of a staircase and a high landing, stood an old upright piano. One sulling eyebrow rose. Orren had told her of a piano on the property, one she could practice on, but it could not be this. Aloma edged past its sunken frame, leaving it untouched, and walked back through a dining room washed in south light past a table papered with bills and letters, into the kitchen. The ceiling here was high and white. It seemed clean mostly because it was empty—spacious and empty as a church. She circled the room, tugged open drawers and cabinets, but her eyes stared at their contents unseeing, her mind wheeling backward. She turned on her heel and stalked to the first room. She tossed back the fallboard and reached her fingers to the ivory. The keys stuttered to the bed, fractionally apart beneath her fingers, and it was no more, no less than she had expected. The sound was spoiled like a meat. She slapped the fallboard down, wood on wood clapped out into the echoing house in cracking waves, and then it was gone. She turned away with the air of someone halfheartedly resigned to endure, but as she turned, she started and stopped. A wall of faces stood before her, photographs in frames armied around a blackened mantel, eyes from floor to ceiling. She studied them without stepping closer. They gazed back.
She left the room as quick as she had come, retraced her steps to the kitchen where she had spied a door that led outside. She opened it wide to the June day. From where she stood, she claimed a long view of the back property. A field of tobacco began down a slope a hundred yards from the house and a fallow field neighbored close by, its beds risen like new graves. There a black curing barn stood and from its rafters a bit of tobacco hung like browned bird wings, pinions down, too early and out of season, she could not say why. To her left another barn, this one red, with a large gated pen and a gallery on one side. The pasture was empty. The cows had all wandered up a hillside to a stand of brazen green trees and stood blackly on the fringe of its shade gazing out, their bodies in the cloaking dark but their heads shined to a high gloss like black pennies in the sunlight. Far below their unmoving faces the newer house pointed south, no larger than a doublewide, no taller, no prettier. It banked the barbed edge of the cows' pasture. But none of this held Aloma's gaze for more than a moment. Instead, she looked out into the distance where, because she could not will them away or otherwise erase them from the earth, the spiny ridges of the mountains stood. She laughed a laugh without humor. All her hopes, and there they were. Had they been any closer, she'd have suffered to hear them laughing back.
When he came, she saw the sun flashes between the farthest trees where the road ran out of the north and she stepped forward and waited. Her eyes worried the spot where the tree-line ended. Then when the truck shot free from the last trees and she knew that it was his, she took another step forward and her hands came together of their own accord, but she did not leave the porch. His truck, as familiar to her as a face, turned in the drive, the glass glinted. Her eyes followed his progress up the hill, the dust rolling and sweeping low to the ground in blond curls behind his truck, then flanging and fading to nothing. At first she could see his figure only as a dark shape and the sun firing on the watch on his right arm as he turned the wheel. Then when he was finally before her, braking and leaning in slightly under the shade of the visor to pull the keys from the ignition, she found the broad contours of his face and the color of his skin, much browner than the last time she had seen him, the day after the funeral three weeks ago when he came down to the school and sat beside her and set a question to her. He said, You'll come up? And she said, Yes, yes. And it don't matter if it's all out of order like it is? And she shook her head and took his blanched face in her hands and kissed him, and that had struck her later as an odd reversal, he usually being the one to reach out and pull her to him. But she'd thought of it only later when she recalled how his lips had not made any motion against hers. It aroused a feeling in her like fear, but so slight and quick to fade that she didn't recognize it for what it was. Now she could not take her eyes from him sitting motionless in the truck watching her as she watched him. She stepped off the porch, hesitant at first, but then half running until she was standing at his door, her hand on the burning chrome of the handle. The tips of his eyelashes were pale as straw now, bleached from the sun so it seemed he had no eyelashes at all, nothing to impede his gaze. She yanked open the door of the truck or he pushed it open and she was half sitting in his lap and they were kissing. She said his name. He said nothing against her mouth. When she pulled away, Aloma saw the hatchings around his eyes were deeper than before. He was drawn, even more so than after the funeral she had not attended because she had to accompany the school's choir to Grayson, the principal had not given her the day off, she had her commitments. They were not her people, after all.
