Vampires in the Lemon Grove (5 page)

I try to weed the pride from my voice, but it’s difficult. In spite of everything, I can’t help but admire the quantity of silk that we
kaiko-joko
can produce in a single day. The Agent boasts that he has made us the most productive machines in the empire, surpassing even those steel zithers and cast-iron belchers at Tomioka Model Mill.

Eliminated: mechanical famine. Supply problems caused by the cocoons’ tiny size and irregular quality.

Eliminated: waste silk.

Eliminated: the cultivation of the
kaiko
. The harvesting of their eggs. The laborious collection and separation of the silk cocoons. We silkworm-girls combine all these processes in the single factory of our bodies. Ceaselessly, even while we dream, we are generating thread. Every droplet of our energy, every moment of our time flows into the silk.

I guide the sisters to the first of the three workbenches. “Here are the basins,” I say, “steam heated, quite modern, eh, where we boil the water.”

I plunge my left hand under the boiling water for as long as I can bear it. Soon the skin of my fingertips softens and bursts, and fine waggling fibers rise from them. Green thread lifts right out of my veins. With my right hand I pluck up the thread from my left fingertips and wrist.

“See? Easy.”

A single strand is too fine to reel. So you have to draw several out, wind six or eight around your finger, rub them together, to get the right denier; when they are thick enough, you feed them to the Machine.

Dai is drawing red thread onto her reeler, watching me approvingly.

“Are we monsters now?” Tooka wants to know.

I give Dai a helpless look; that’s a question I won’t answer.

Dai considers.

In the end she tells the new reelers about the
juhyou
, the “snow monsters,” snow-and-ice-covered trees in Zao Onsen, her home. “The snow monsters”—Dai smiles, brushing her white whiskers—“are very beautiful. Their disguises make them beautiful. But they are still trees, you see, under all that frost.”

While the sisters drink in this news, I steer them to the Machine.

The Machine looks like a great steel-and-wood beast with a dozen rotating eyes and steaming mouths—it’s twenty meters long and takes up nearly half the room. The central reeler is a huge and ever-spinning
O
, capped with rows of flashing metal teeth. Pulleys swing our damp thread left to right across it, refining it into finished silk. Tooka shivers and says it looks as if the Machine is smiling at us.
Kaiko-joko
sit at the workbenches that face the giant wheel, pulling glowing threads from their own fingers, stretching threads across their reeling frames like zither strings. A stinging music.

No
tebiki
cranks to turn, I show them. Steam power has freed both our hands.

“ ‘Freed,’ I suppose, isn’t quite the right word, is it?” says Iku drily. Lotus-colored thread is flooding out of her left palm and reeling around her dowel. With her right hand she adjusts the outflow.

Here is the final miracle, I say: our silk comes out of us in colors. There is no longer any need to dye it. There is no other
silk like it on the world market, boasts the Agent. If you look at it from the right angle, a pollen seems to rise up and swirl into your eyes. Words can’t exaggerate the joy of this effect.

Nobody has ever guessed her own color correctly—Hoshi predicted hers would be peach and it was blue; Nishi thought pink, got hazel. I would have bet my entire five-yen advance that mine would be light gray, like my cat’s fur. But then I woke and pushed the swollen webbing of my thumb and a sprig of green came out. On my day zero, in the middle of my terror, I was surprised into a laugh: here was a translucent green I swore I’d never seen before anywhere in nature, and yet I knew it as my
own on sight.

“It’s as if the surface is charged with our aura,” says Hoshi, counting syllables on her knuckles for her next haiku.

About this I don’t tease her. I’m no poet, but I’d swear to the silks’ strange glow. The sisters seem to agree with me; one looks like she’s about to faint.

“Courage, sisters!” sings Hoshi. Hoshi is our haiku laureate. She came from a school for young noblewomen and pretends to have read every book in the world. We all agree that she is generally insufferable.

“Our silks are sold in Paris and America—they are worn by Emperor Meiji himself. The Agent tells me we are the treasures of the realm.” Hoshi’s white whiskers extend nearly to her ears now. Hoshi’s optimism is indefatigable.

“That girl was hairy when she got here,” I whisper to the sisters, “if you want to know the truth.”

The old blind woman comes again, takes our silks, pushes the leaves in with a stick, and we fall upon them. If you think we
kaiko-joko
leave even one trampled stem behind, you underestimate the deep, death-thwarting taste of the mulberry. Vital green, as if sunlight is zipping up your spinal column.

In other factories, we’ve heard, there are foremen and managers and whistles to announce and regulate the breaks. Here the clocks and whistles are in our bodies. The thread itself is our boss. There is a fifteen-minute period between the mulberry orgy—“call it
the evening meal
, please, don’t be disgusting,” Dai pleads, her saliva still gleaming on the floor—and the regeneration of the thread. During this period, we sit in a circle in the center of the room, an equal distance from our bedding and the Machine. Stubbornly we reel backward: Takayama town. Oyaka village. Toku. Kiyo. Nara. Fudai. Sho. Radishes and pickles. Laurel and camphor smells of Shikoku. Father. Mother. Mount Fuji. The Inland Sea.

All Japan is undergoing a transformation—we
kaiko-joko
are not alone in that respect. I watched my grandfather become a sharecropper on his own property. A dependent. He was a young man when the Black Ships came to Edo. He grew foxtail millet and red buckwheat. Half his crop he paid in rent; then two-thirds; finally, after two bad harvests, he owed his entire yield. That year, our capital moved in a ceremonial, and real, procession from Kyoto to Edo, now Tokyo, the world shedding names under the carriage wheels, and the teenage emperor in his palanquin traveling over the mountains like an imperial worm.

In the first decade of the Mejii government, my grandfather was forced into bankruptcy by the land tax. In 1873, he joined the farmer’s revolt in Chūbu. Along with hundreds of others of the newly bankrupted and dispossessed from Chūbu, Gifa,
Aichi, he set fire to the creditor’s offices where his debts were recorded. After the rebellion failed, he hanged himself in our barn. The gesture was meaningless. The debt still existed, of course.

My father inherited the debts of his father.

There was no dowry for me.

In my twenty-third year, my mother died, and my father turned white, lay flat. Death seeded in him and began to grow tall, like grain, and my brothers carried Father to the Inoba shrine for the mountain cure.

It was at precisely this moment that the Recruitment Agent arrived at our door.

The Agent visited after a thundershower. He had a parasol from London. I had never seen such a handsome person in my life, man or woman. He had blue eyelids, a birth defect, he said, but it had worked out to his extraordinary advantage. He let me sniff at his vial of French cologne. It was as if a rumor had materialized inside the dark interior of our farmhouse. He wore Western dress. He also had—and I found this incredibly appealing—mid-ear sideburns and a mustache.

“My father is sick,” I told him. I was alone in the house. “He is in the other room, sleeping.”

“Well, let’s not disturb him.” The Agent smiled and stood to go.

“I can read,” I said. For years I’d worked as a servant in the summer retreat of a Kobe family. “I can write my name.”

Show me the contract, I begged him.

And he did. I couldn’t run away from the factory and I couldn’t die, either, explained the Recruitment Agent—and perhaps I looked at him a little dreamily, because I remember that he repeated this injunction in a hard voice, tightening up the grammar: “If you die, your father will pay.” He was peering deeply into my face; it was April, and I could see the rain in his mustache. I met his gaze and giggled, embarrassing myself.

“Look at you, blinking like a firefly! Only it’s very serious—”

He lunged forward and grabbed playfully at my waist, causing my entire face to darken in what I hoped was a womanly blush. The Agent, perhaps fearful that I was choking on a radish, thumped my back.

“There, there, Kitsune! You will come with me to the model factory? You will reel for the realm, for your emperor? For me, too,” he added softly, with a smile.

I nodded, very serious myself now. He let his fingers brush softly against my knuckles as he drew out the contract.

“Let me bring it to Father,” I told the Agent. “Stand back. Stay here. His disease is contagious.”

The Agent laughed. He said he wasn’t used to being bossed by a
joko
. But he waited. Who knows if he believed me?

My father would never have signed the document. He would not have agreed to let me go. He blamed the new government for my grandfather’s death. He was suspicious of foreigners. He would have demanded to know, certainly, where the factory was located. But I could work whereas he could not. I saw my father coming home, cured, and finding the five-yen advance. I had never used an ink pen before. In my life as a daughter and a sister, I had never felt so powerful. No woman in Gifu had ever brokered such a deal on her own.
KITSUNE TAJIMA
, I wrote in the slot for the future worker’s name, my heart pounding in my ears. When I returned it, I apologized for my father’s unsteady hand.

On our way to the
kaiko
-tea ceremony, I was so excited that I could barely make my questions about the factory intelligible. He took me to a summer guesthouse in the woods behind the Miya River, which he told me was owned by a Takayama merchant family and, at the moment, empty.

Something is wrong
, I knew then. This knowledge sounded with such clarity that it seemed almost independent of my body, like a bird calling once over the trees. But I proceeded, following
the Agent toward a dim staircase. The first room I glimpsed was elegantly furnished, and I felt my spirits lift again, along with my caution. I counted fourteen steps to the first landing, where he opened the door onto a room that reflected none of the downstairs refinement. There was a table with two stools, a bed; otherwise the room was bare. I was surprised to see a large brown blot on the mattress. One porcelain teapot. One cup. The Agent lifted the tea with an unreadable expression, frowning into the pot; as he poured, I thought I heard a little splash; then he cursed, excused himself, said he needed a fresh ingredient. I heard him continuing up the staircase. I peered into the cup and saw that there was something alive inside it—writhing, dying—a fat white
kaiko
. I shuddered but I didn’t fish it out. What sort of tea ceremony was this? Maybe, I thought, the Agent is testing me, to see if I am squeamish, weak. Something bad was coming—the stench of a bad and thickening future was everywhere in that room. The bad thing was right under my nose, crinkling its little legs at me.