“Thandi, you have a whole life ahead of you. It’s too soon to be feeling this way.”
Brother Smith clasps both his hands as if he’s about to pray. “Think about your family, this school. People are rooting for you. You’re a straight-A student who can do more with your life than be—”
“But you said I’m good.”
“Yes, I did say that.”
He reaches across a small stack of students’ work on his desk and locates Thandi’s sketchpad. The students had to turn in preliminary materials for the end-of-the-year project. He opens up Thandi’s. “You have skills. It’s obvious,” he says. “But I’m afraid that—” He clears his throat. “I don’t see a future for you there.”
Brother Smith apparently picks up on her disappointment, because his face softens and his head tilts as though he’s about to reason with a five-year-old.
“Here is the thing, Thandi. I favor landscapes and have to say that yours is my favorite by far of all the collection that I have! But this final project should give me a better understanding of you, the artist. I don’t see that. I would like to challenge you to go deeper, reveal more of yourself,” he says. “If I like what I see, I will nominate your work to be displayed in the Merridian. You can keep drawing, even if not professionally.” He pushes her drawings that she did over the last few weeks to the edge of his desk.
The Merridian is the holy grail of artwork in the school. It was named after a white nun whose favorite pastime was painting workers in the fields whenever she came on missionary trips to the plantations. She would title her paintings Negro Picking Corn; Negro Under Tree; Negro at Sunset. Her paintings had gotten national acclaim.
“I’d like that, sir,” Thandi says, almost falling out of her chair to rise with Brother Smith. They walk together to the studio, Thandi silently contemplating what she’ll do for the final project as they pass the sewing room, where girls sit studiously behind Singer machines; the cooking hall, with its smell of cornmeal pudding; the typing lab, where keyboards take on the sound of pecking birds; and finally to the art studio. Brother Smith squeezes her shoulder firmly before they enter the class. As soon as she gets to her space around a large table that seats all six of her art classmates, Thandi pulls out her tools. Brother Smith instructs them to sketch for a few minutes, identifying objects in the room. Thandi angles the pencil in her right hand and concentrates deeply. She taps her pencil lightly on the sheet, the Merridian still on her mind. Brother Smith may say there’s no future in art, but if he nominates her and she wins, who knows? But how can she reveal more of herself when she’s so unsure of who that is? Her hand barely moves, though other images come into focus: the chipped ceramic vase with red roses that Brother Smith keeps at the front of the room for inspiration, the Virgin Mary figurine on the windowsill, a pair of slippers with the heels rubbed down on a side table, the defiance within the straight backs of the wooden chairs. Every object has character. Substance. A story about the people who made them, owned them.
Something slips inside Thandi, filling her with a familiar weight that presses down on her chest, holds her still, like the man’s body that one time. It’s a feeling of dread that causes her to pause, her pencil suspended in midair. Thandi’s kept her terrible secret for years, and as time has gone on she has convinced herself that no one would believe her anyway. Like a bad dream, the pain of the experience lingers—the taste of licorice when she bit into the hand cupping her mouth, the roughness of the stones, pebbles, and sticks as her heels were dragged along the dusty path and into the bushes, the heavy weight on top of her that both blinded and numbed her. All she had was her hearing. “If yuh tell ah soul, yuh dead!” The words were like the blade of a knife by her temple, which she spent the days and nights after it happened trying hard to forget. Her imagination began to produce walls behind which she crouched in silence, closed off from the pain of the memory. She didn’t have to leave this hiding place, for her imagination also produced its own food, water supply, and oxygen. After a while it became harder to piece the facts together. For example, how is it that she can remember the trees that she was looking at before it happened, and their names, the green of the water in the cove, but not the color of his shirt, what he had in his hand, or what his face looked like? Was he wearing red or black? Did he carry a knife or a broken bottle? Was he wearing a beard then? Or just a mustache? Something inside her collapses under the weight of the things she cannot remember. She sketches, knowingly and unknowingly turning the pointed pencil toward herself.