Deathless

Does magic number among the things Yaichka possesses, along with the river without a name and the pregnant sheep? One day, the old man Grigory Yefimovich decided to settle the question once and for all. He tells all the children he was once a priest, but everyone knows there is nothing before or after Yaichka, or alongside it, or underneath it, and only stars above it, so old Grisha seems mysterious and wise to them indeed. Nevertheless, all the folk of Yaichka entertain him, for he tells wonderful stories, knows how to deliver babies, and tugs on his beard when he lies, and thus can be relied upon utterly, so long as he leaves his beard alone. “I saw a star in his hair,” whispered little Olga Nikolayevna, Aleksandra’s daughter, and she was generally believed.

To settle the question of Yaichkan magic, Grisha took Aleksandra Fedorovna, whose hair was like gold wire, to the exact place where the larch forest meets the edge of Sergei Mironovich’s medicinal garden. He stood with one boot in the wood and one boot in the village—magicians know the import of such stances, and Grisha certainly knew the import of knowing what a magician should know.

“Now, Sasha, watch me eat this mushroom with silver spots on it, which you and all your children know has a terrible poison.”

Aleksandra watched carefully. Grigory Yefimovich chewed it up. Nothing ill seemed to happen. His limbs did not seize up; his tongue did not turn purple.

“Do you see?” said Grisha.

“I see,” said Sasha.

“Now, watch me hang myself from the larch. Give me your apron to throttle myself.”

Aleksandra watched carefully. Grigory wound the apron around his neck and hung himself from the tree. Nothing ill seemed to happen. He smiled pleasantly and swung back and forth for a while. His eyeballs did not burst; he did not sputter a final confession while choking.

“Do you see?” said Grisha.

“I see,” said Sasha.

“Now, you must shoot me, for the final proof.” And the old not-really-a-priest produced a small pistol—which, if Aleksandra had thought about it, was entirely the most magical thing to happen that afternoon, as no one in Yaichka had ever produced a pistol before.

Aleksandra shot carefully. Her bullet entered his heart exactly as every bullet dreams of doing. Blood seeped out of Grisha’s shirt, which he had gotten from Galina Ivanova in exchange for a tale about a great warrior who defended a city against soldiers with faces like rats. Galina had nightmares for weeks, and called it a good trade. But then, Grigory Yefimovich smiled and showed Aleksandra that his breast was whole, with the same scraggly hairs still on it as had been before. He took the pistol back and no one ever saw it again. Sasha did not tell anyone that Grisha had ever had it, or that she herself now knew what a pistol was, and had fired it as easily as rolling out dough for vereniki.

“I will tell you the magic of Yaichka, Sasha. Death has forgotten Yaichka, and knows nothing of it.”

“Surely not. Everything dies. The cows, the sheep. Marya shoots her deer.”

“Can you remember any person dying?”

Aleksandra was silent for a long while. The sky got blue and depthless. “I seem to, in my heart. In a part of my heart locked up behind the farthest, smallest room of my heart. Under that lock is a place with a dirt floor where it is always winter. There I seem to think that someone has died, and no one helped them. Then I weep so bitterly that horrible flowers grow from my tears.”

Grigory Yefimovich put his long, rough arms around Aleksandra Fedorovna, whom he had loved secretly since he was young. She knew it, of course, and because of both of them knowing a thing like that, they treated each other with a very tender kindness.

“Never mind, Sasha,” said Grisha. “It was only a trick I can do. Don’t cry.”

* * *

On Fridays, Marya Morevna goes to the fields to cut grain. In Yaichka, the grain always sighs to be cut. Even six months along, she does not shirk, but takes up a short scythe, its handle well worn by all the hands of Yaichka, all those oils, all that skin. The sun polishes the tips of the trees and turns Marya’s black hair blue. Up she raises the scythe and down again, and the blade knocks back the golden stalks, and the solitary goat bleats ecstasy as he discovers a patch of wild onion no one will scold him for devouring; and up sings the scythe and down again, and lovely little Anastasia Nikolayevna drops a stitch in her knitting, and Volchya the dapple grey deliberately throws a shoe so that Marya will have to tend to him later, because he is that sort of beast; and the grain falls in a pile, a cairn, and six mice that Yaichka does not know it possesses wash each other’s ears with pink tongues; and up she swings her blade and down she swings it low, and without knowing why, the women of Yaichka go to the exact place where the well-tilled field whose soil forgives them all meets Nadya Konstantinovna’s radishes, and they watch Marya without understanding why it is they came to watch a pregnant woman with a belly like a bow drawn back all the way, her scythe raised like a sword, slicing down again and again, and the clean sweat dampening her hair as the sun sings a little song with four lines of five words each, and the last word of the song is death.

* * *

It is Thursday, and Marya is too big around to ride Volchya into the larch forest. She walks instead, her long red woolen dress trailing behind her, her black hair almost as long as her dress, her rifle strapped to her back. The leaves pose at the exact moment before they should fall, but do not. Tiny birds like scraps of bark fly up in whorls behind her. The smell of the forest pricks at her cheeks, brightening them, kissing them. She holds her belly with her right arm—she is sure that Mars in all its mountains could not be so huge as she.

“If I could talk to you, Daughter, I would say, We made you when our eyes were at their darkest, when the solitary goat was full of onion, and the moon looked just like an egg. I would say, Who will you be when you are grown? I would say, What will we call you?”

Behind a copse of seven birches, a thing rustles. The leaves crisp and spark under the feet of the thing, and smoke wisps up. A streak of orange winks out of the birch trunks, and Marya cannot run, really, but she can hold still as a house. Inside her, her daughter moves, pushes her tiny hand against her mother, her tiny foot against the eggshell of her world. I want it, Mama, the hand says. The beautiful bird, the foot says. One step forward, through the leaves, then another, and there it shines: the bird’s long, long tail, shaming any peacock ever born, dragging along the forest floor like a red dress burning.

Marya Morevna hoists her rifle. She loves her rifle. Someone made a present of it to her, though she cannot remember who, or when. It is warm from her hands. The bird rears up, flapping his wings, sending sparks into the air, smoke, and the bird is burning, burning, so white and gold Marya sees spots dancing around her eyes. Her daughter stretches out her tiny arms inside her. Mama, the arms say, the light! When she fires, the child in her belly surges downward, as though she means to be born right now, right this very moment.

In all of Yaichka, no one can beat the firing arm of Marya Morevna. The bullet collides with the firebird like a child leaping up into her papa’s arms when he comes home after a long journey. The bird stumbles back

wards against the birches, trapped by their trunks. He lifts up his eyes to the sky and Marya clutches her belly; but there are tears floating like naphtha in the firebird’s eyes, there is a song in his mouth like blood; and the sound hurts her, pulls at her, plucks the bones of her ribs like gusli strings. The tips of his wings blaze like blue gaslights. Allee, allai! the bird ululates; Marya hears a beckoning in it, like a calling to prayer. Allee, allai!

Mama, the light! Marya steps into the ring of the firebird’s flames. He does not burn her, nor is he wounded, no more than Grisha was wounded by Sasha’s pistol. His eyes grow huge, crimson, spinning; his wings fold around her, drawing her close in, his tears dripping wax on her head, but he does not burn her any more than she killed him, and together they fall to the forest floor in each other’s arms—allee, allai!

“What does it mean?” whispers Marya in the embrace of the firebird. He smells of burning bread, and butter, and sugar, boiling down into the earth.

“It means I forgive you,” he sings to her, “for the last time you killed me, and this time, too, and forever and forever, until death.”