Cloontha it is called - a locality within the bending of an arm. A few scattered houses, the old fort, lime-dank and jabbery and from the great whooshing belly of the lake between grassland and callow land a road, sluicing the little fortresses of ash and elder, a crooked road to the mouth of the mountain. Fields that mean more than fields, more than life and more than death too. In the summer months calves going suck suck suck, blue dribble threading from their black lips, their white faces stark as clowns. Hawthorn and whitethorn, boundaries of dreaming pink. Byroad and bog road. The bronze gold grasses in a tacit but unremitting sway. Listen. Shiver of wild grass and cluck of wild fowl. Quickening.
Fathoms deep the frail and rusted shards, the relics of battles of the long ago, and in the basins of limestone, quiet in death, the bone babes and the bone mothers, the fathers too. The sires. The buttee men and the long-legged men who hacked and hacked and into the torn breathing soil planted a first potato crop, the diced tubers that would be the bread of life until the fungus came.
According to the annals it happened on Our Lady's Eve. The blight came in the night and wandered over the fields, so that by morning the upright stalks were black ribbons of rot. Slow death for man and beast. A putrid pall over the landscape, hungry marching people meek and mindless, believing it had not struck elsewhere. Except that it had. Death at every turn. The dead faces yellow as parchment, the lips a liquorice black from having gorged on the sweet poisonous stuff, the apples of death.
They say the enemy came in the night, but the enemy can come at any hour, be it dawn or twilight, because the enemy is always there and these people know it, locked in a tribal hunger that bubbles in the blood and hides out on the mountain, an old carcass waiting to rise again, waiting to roar again, to pit neighbour against neighbour and dog against dog in the crazed and phantom lust for a lip of land. Fields that mean more than fields, fields that translate into nuptials into blood; fields lost, regained, and lost again in that fickle and fractured sequence of things; the sons of Oisin, the sons of Conn and Connor, the sons of Abraham, the sons of Seth, the sons of Ruth, the sons of Delilah, the warring sons of warring sons cursed with that same irresistible thrall of madness which is the designate of living man, as though he had to walk back through time and place, back to the voiding emptiness to repossess ground gone for ever.
Heraldic and unflagging it chugged up the mountain road, the sound, a new sound jarring in on the profoundly pensive landscape. A new sound and a new machine, its squat front the colour of baked brick, the ridges of the big wheels scummed in muck, wet muck and dry muck, leaving their maggoty trails.
It was the first tractor on the mountain and its arrival would be remembered and relayed; the day, the hour of evening, and the way crows circled above it, blackening the sky, fringed, soundless, auguring. There were birds always; crows, magpies, thrushes, skylarks, but rarely like that, so many and so massed. It was early autumn, one of those still autumn days, several fields emptied of hay, the stubble a sullied gold, hips and haws on the briars and a wild dog rose which because of its purple hue had been named after the blood of Christ-Sangria Jesu.
At the top of the hill it slowed down, then swerved into a farmyard, stopping short of the cobbles and coming to rest on a grassy incline under a hawthorn tree. Bugler, the driver, ensconced inside his glass booth, waved to Breege, the young woman who, taken so by surprise, raised the tin can which she was holding in a kind of awkward salute. To her, the machine with smoke coming out of the metal chimney was like a picture of the Wild West.
Copyright (c) 1999 by Edna O'Brien. Reprinted by permission of Houghton Mifflin Company.
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