The Female of the Species Read Free

the morning.”
    “He was far away,” said Elya sadly.
    “Not so far, and you know it. You know where he was—”
    “She bewitched him!”
    “It is a fact,” many murmured. “She took his big power away. That is why he ended so badly. It was all her fault.”
    Errol had this on film, and wondered how Gray would feel when she got this section back from the developers. She’d already confided to Errol that it was “all her fault,” and might not enjoy being told so repeatedly as she edited this reel.
     
    Meanwhile the hunter was stalking the trail Gray and Errol had just hiked down the day before. Perhaps he paused by the same tree where Gray had thrown down her pack, picking up flung bits of sod and finding them still fresh, to quickly walk on again, completely silent as he so often was, and dark enough to blend in with the mottled shadows of late afternoon.
     
    After putting away the camera, Errol found Gray in the hut where they were staying.
    “Why did you walk off like that?” asked Errol.
    “I felt claustrophobic,” said Gray.
    “How can you feel claustrophobic in the middle of a field?”
    She didn’t answer him. Instead, she said after some silence, “I’d like to take a shower.” She lay flat on her back, staring at the thatch ceiling. The hut smelled of sweet rotting grass and the smoke of old fires. It was a dark, crypt-like place, with a few shafts of gray light sifting from the door and the cracks in the walls. Gray’s palms lay folded on her chest like a pharaoh in marble. Her expression was peaceful and grave, yet with the strange blankness of white stone.
    “That’s ridiculous,” said Errol.
    “I would like,” she said, “to have warm water all over my body. I would like,” she said, “at the very least, to hold my hands under a tap and cup them together and let the water collect until it spills over and bring it to my face and let it drip down my cheeks.” She took a breath and sighed.
    But Errol had never worried about her. “Gray?”
    “I feel absolutely disgusted and tired and stupid,” she said in one long breath, and with that she turned over on her side and curled into a small fetal ball, with her arms clasped around her chest, no longer looking like a pharaoh at all but more like a child who would still be wearing pajamas with sewn-in feet. In a minute Gray had gone from an ageless Egyptian effigy, wise and harrowed and lost in secrets, to a girl of three. It was an oddly characteristic transition.
    Errol wandered back outside, calm and relaxed. His eyes swept across the village of Toroto, the mud and dung cakingoff the walls, the goats trailing between the huts, the easy African timelessness ticking by, with its annoying Western intrusions—candy wrappers on the ground, chocolate on children’s faces, gaudy floral-print blouses. In spite of these, Errol could imagine this place just after World War II, and it hadn’t changed so much. It was good to see this valley at last, with the cliffs sheering up at the far end, and good to finally meet Il-Ororen, with their now muted arrogance and wildly mythologized memories. All this Errol had pictured from Men without History , but the actual place helped him put together the whole tale; so as the sun began to set behind the cliffs and the horizon burned like the coals of a dying fire around which you would tell a very good story, Errol imagined as best he could what had happened here thirty-seven years ago.

2
    It was fitting that Gray finally do a documentary about Toroto, for in some ways Errol had already made this film. Errol’s great indulgence—it bordered on vice, or at least on nosiness—was a curious sort of mental home movie. His secret passion was piecing together other people’s lives. Going far beyond the ordinary gossip, Errol pitched into history that was not his own like falling off a ledge, in a dizzying entrancement with being someone else that sometimes frightened him.
    Naturally, Gray Kaiser’s life